During Soviet cinema's nascent years, Sergei Eisenstein pioneered a montage-as-manipulation theory that gave each of his colliding shots an excitable (and semiotic) heft. His editing prowess is particularly clear-cut in his film-school staple, Battleship Potemkin, which screens tonight with a new score by composer Matt Darriau and his Paradox Trio. To amplify Potemkin's militant credo and its frenetic, boomeranging imagery, Darriau's avant-garde ensemble delivers a lush, keyed-up mix of Balkan, klezmer, and cello-propelled sounds. Of course, the climax — whether it's supported by a dumbek backbeat or a strummed guitar — remains the tsarists stomping down the Odessa Steps.
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