Louis D. Giannetti’s Understanding Movies:

. . . A famous sequence from Potemkin shows three shots of stone lions, one asleep, a second aroused and on the verge of rising, and a third on its feet and ready to spring. Eisentein considered the sequence an embodiment of a metaphor: “The very stones roar.” . . .

4-14a-hhh, A portion of the Odessa Steps sequence from Potemkin. Directed by Sergei Eisenstein. Perhaps the most famous instance of editing virtuosity of the silent cinema, the celebrated Odessa Steps sequence is a brilliant illustration of Eiesentein’s theory of collision montage in practice. The director contrasted lights and darks, vertical lines, with horizontals, lengthy shots with brief ones, close-ups with long shots, static set-ups with traveling shots, and so on.



Netflix’s description of the whole movie:

Propaganda notwithstanding, director Sergei M. Eisenstein's masterwork remains a cinematic landmark, charting events that ultimately led to the Bolshevik Revolution. Fed up with the ship's officers' brutalities and with maggot-infested rations, the crew of the battleship Prince Potemkin revolts. The rebellion ignites an uprising by the citizens of Odessa, resulting in czarist troops' infamous, systematic slaughter of insurgents and bystanders.


Compare the baby carriage scene (beginning around 5:00) to what Brian De Palma did with a baby carriage in this clip:

...The Untouchables: Train Station Shoot-out (9:04)

http://www.videosift.com/story.php?id=15817

Brian De Palma took the baby carriage idea from the Odessa steps sequence in Sergei Eisenstein's silent movie "Potemkin."