It is important to realise that Eisenstein was a committed Marxist film maker who held some very specific and particular theories about what film could achieve, and how.<br /><br />It is simply idle to compare Alexander Nevsky negatively with anything from a similar period in the US; this film comes from the oldest film school in the world, from another continent, from an entirely different approach to cinema.<br /><br />To appreciate this film a little more, try finding out about Pudovkin's and Kuleshov's theories of montage, for example, or read the Wikipedia entry on Marxist Film Theory. If you're feeling really bold, you might even investigate the triadic forms of Hegelian dialectic.<br /><br />It follows that if you watch this film without some understanding of Eisenstein's ideas and ideals, you probably won't get it. In Alexander Nevsky the main characters aren't playing themselves, they are meant to be distillations of their nation's character. Nevsky and his generals are deliberately shown larger-than-life, because they represent stylised, heroic aspects of the entire Russian people.<br /><br />The acting isn't wooden, it's meant to be slightly mannered. It represents a completely different school from the more naturalistic, narrative style which Hollywood was rapidly adopting. Eisenstein's films are especially designed *not* to be realistic. If anything seems somewhat "obvious", whether lighting or language or a pose struck by an actor, it's meant to be that way. Eisenstein was one of the early proponents of film as an art form, not just as entertainment.<br /><br />If the editing sometimes seems to consist of a clash of images, well, that's the idea. Shots are meant to contrast with each other, Eisenstein's films contain and embody elements of a political/philosophical argument, namely Marxist dialectic.<br /><br />So sit back, shout hurrah for Russia and her folk-hero defenders, boo at the cowardly nobles and the Teuton invaders, and enjoy the difference.