If you’ve ever been lucky enough to study film at academic level, it’s almost guaranteed that this 1925 Russian film would have been on the syllabus.

Director Sergei Eisenstein’s silent film is quite rightly considered a classic, in terms of its bold content and striking use of montage, as it follows a rebellion on board a Russian ship.

And despite now celebrating its 100th anniversary, it still packs a mighty punch, now accompanied by a score by none other than the Pet Shop Boys.

1905 on board the Potemkin, a Russian battleship. All is not well however, as the crew are unhappy with the conditions, most notably, the rotting food they’re being forced to it. They are also becoming disillusioned with war itself, with a revolution taking place in their homeland.

When the commander gets word of the crew refusing to eat the food, he decides to make an example of them, on deck, in front of everyone, where he intends to shoot those who disobey him. But with the swelling of anger amongst all the crew, he isn’t prepared for what comes next, when a tide of rebellion washes over him, and Potemkin takes on a whole new direction.

It’s been a while since this reviewer has seen Eisenstein’s classic, having first been introduced to it sat in a London college, under the tutelage of Jack Babuscio (RIP), who fuelled the passion for film for all those fortunate enough to study under him.

It is there where we studied the Odessa Steps sequence, which has long since been regarded as one of the most influential scenes in film history. And it’s easy to see why, with Eisenstein’s intelligent use of editing to creating incredible tension, which still holds up today.

And the same can be said for the entire film that was released a hundred years ago. It is a bold and striking example of filmmaking, giving a new lease of life with a more contemporary soundtrack supplied by Neil Tennant and Chris Lowe, performed with the Dresdner Sinfoniker.

It still remains a captivating piece of cinema, with its groundbreaking form of storytelling, which can be appreciated not just by film academics but anyone with a genuine love of film.