Try to imagine a grand stone staircase (consisting of 200 steep steps and divided by just under a dozen landings) built into a hillside in Odessa, Ukraine. Now imagine the Cossacks coming down the steps (in a slow, steady march) with weapons drawn and pointed at countless civilians. The Cossacks shoot a young boy who is then trampled by fleeing civilians, while his mother watches, helpless and desperate, in horror. At the first opportunity, the mother picks up her little boy and hugs him. At the moment, she is the only one moving noticeably towards the Cossacks. The mother asks the Cossacks for help and they kill her. Few civilians found the courage of their convictions and attempted to walk towards the Cossacks' downward fire. A young mother tries to protect her crying baby in her carriage, while a grandmother (hidden nearby) mobilizes her family to try to reason with the Cossacks. The young mother is shot, and as she falls, she falls against the car, sending her baby into the steps. The grandmother is shot in the eye (The Battleship Potemkin, 1925). Looking at the scene titled “Odessa Stairs” by Sergei Eisenstein, Battleship Potemkin is more reminiscent of a scene from Coppola's Pulp Fiction, The Godfather or Tarrentino, and not a silent film from 1925. Sergei Eisenstein was a Russian director born in Riga (now Latvia) in 1898 (Hoobler 75). Eisenstein is considered the innovator behind the film editing style ("Sergei Eisenstein Died in Moscow", New York Times, 1948). Eisenstein's most popular works include: Strike, The Battleship Potemkin, October, Alexander Nevsky, and Ivan the Terrible (Hoobler 77-80). To this day, Eisenstein is held middle of paper ......s seemed less important than the fact that he developed new techniques, designed camera approaches and He always sought to bring out the potential of a form still in development. The fact that he forgot - or neglected - to bring the Marxist message to one of his films, two years ago, earned him this fatal kiss: the accusation of Soviet authority. Culture and Life magazine, that his productions did not meet Soviet demands for art and the interpretation of history” (“Sergei Eisenstein Died in Moscow,” New York Times, 1948). In cinema, Eisenstein was known for his development of the montage sequence, unusual juxtapositions and realistic images. In his life he was known for his propaganda and his belief in the plight of the working class. Eisenstein left an inevitable mark on his community, his times, the form of a subculture and his art..