Judit Bárdos gives a thorough review of the film theory of Eisenstein taken from between 1923 and 1929, from his theatre theory of that time which put in centre place the "montage of attractions", through classic montage-theory finally to a conception of intellectual montage.     The author stresses continuity among the various theoretical phases and illustrates each standpoint with specific film-examples.     The article takes great trouble in placing Eisenstein's theoretical work of the twenties into the context of the trends of the Russian avant-garde, especially in terms of its connection to the Russian formalist school.     Besides this, the author points out that Eisenstein cannot be called a Marxist thinker, and in fact he formulated most of his tenets in opposition to the dominant Marxist aesthetics.     The author lays special stress on Eisenstein's plan for the film 'Capital', which is one of the purest fundamental cases of intellectual film, and Bárdos analyses it in detail.