Sergei M. Eisenstein's docu-drama about the 1917 October Revolution in Russia. Made ten years after the events and edited in Eisenstein's 'Soviet Montage' style, it re-enacts in celebratory terms several key scenes from the revolution.
In the short-lived Commune of Paris, a conscripted soldier falls in love with a Communard saleswoman. As the army cracks down on the revolutionaries, the soldier is forced to fight against the Commune, and the pair's love is put to the test.
Also known as The Old and the New (Staroye i Novoye), The General Line illustrates Lenin’s stated imperative that the nation move from agrarian to industrial culture in an epic ode to farm-collectivization progress.
Director Frederick Ermler’s last silent feature and the last of four collaborations with actor Fiodor Nikitin. Nikitin plays an officer who spends a decade after the Great War as a shell-shocked amnesiac, until a glimpse of a woman through a train window sparks the return of his memory. He makes his way back to St. Petersburg, now Leningrad, a man out of time who struggles to make sense of the new society brought about by the revolution.
Life changes for a Moscow couple after they allow an old friend of the husband’s to move in.
A compilation of newsreels shot between 1913 and 1917 - the years leading up to the Russian Revolution.
Through the travelogue format, it depicts the multitude of Soviet peoples in remote areas of USSR and details the entirety of the wealth of the Soviet land. Focusing on cultural and economic diversity, the film is in fact a call for unification in order to build a "complete socialist society".
The picture compares the fate of two heroines Anna and her lively and energetic sister-in-law Vasilisa, who openly defies the old way of life.
An adaptation of Pushkin's historical novel about the Pugachev's Rebellion in 1773–1774.
A young country girl who becomes an apple seller is seduced and abandoned. She finds a protector but when he is arrested for theft she finds honest work in a factory.
Katerina Izmailova is a filmization of Dmitry Shostakovich's long-suppressed 1936 opera. Galina Vishnevskaya stars as Katerina, a bored 19th century farm wife. At the behest of her grungy lover, Katerina murders her husband and her father-in-law. She and her new beau are both sent to Siberia, where the lover almost immediately takes up with a younger woman. Banned by Stalin for its bleak portrait of Soviet life, Katerina Izmailova was not given a Russian staging for over 40 years; its Metropolitan Opera debut did not occur until 1994. Dmitri Shostakovich also wrote the screenplay for the screen version of Katerina Izmailova.
This SovKino production was a major early experiment in Soviet historical film about the oprichnina period of Muscovite history, combining the costumed drama and Gothic thrills of the genre with historical materialist commentary on the dialectical collision of scientific progress and patriarchal religious tyranny under Tsar Ivan the Terrible. It follows a self-taught inventor from the serf class Nikishka, whose efforts to build a flying machine incite accusations of witchcraft. Nikishka and his beloved Fima are persecuted by the feudal lord Kurlyatev, who took their village in a petty land squabble. They’re rescued when Kurlyatev’s lands are taken by the Tsar in his autocratic campaign against the feudal system. Ivan puts Nikishka to work in his linen mill, where the young serf is coveted by Tsarina Maria Temryukovna, who the Tsar’s been ignoring in favor of his cupbearer Feodor. A series of harrowing intrigues wind a bloody dance through bedchamber, feast hall, cathedral and dungeon.
The rebel leader Jose Real is allowed to leave prison for one day to visit his family. But it is a ruse to make him reveal the whereabouts of his rebel gang. This existential drama disguised as a saga about the proletarian struggle presents a lonely and insecure individual who is challenged to act more heroically than he is prepared to, but who constantly questions his confidence and loyalties.
The chairman of the factory committee of one of the Leningrad factories, Fyodor Gorbachev, a weak-willed man who was unable to completely overcome his petty-proprietor psychology, is visited from the village by his brother Sergei, a former kulak and trader. His arrival brings quarrels and discord into the friendly Gorbachev family. At Fyodor's request, the factory director hires Sergei, but demands a favor in return.
Since director Sergei Yutkevich was a longtime lover of American slapstick, his first films were imbued with a playfulness and cheeriness not typical of Russian cinema. And Kruzheva is a good example of that as he illustrates the friendly rivalries between the youths on village in both a very rough and clowning way.
Director of a Soviet-era enterprises, Baturin, spends days and nights in his private office. Inability to arrange work day and overwork caused Buchanan severe form of neurasthenia. Small, endless quibbling, swearing, threats, Buchanan has turned into a nightmare life of his wife and child. The Director suffers from insomnia. Finally he went to the clinic. On the advice of Professor Buchanan, after going into a rest home, began to exercise, running around on skates, went skiing. A month later, wife and child met quite healthy, mature person.
In 1921. With the help of Japanese interventionists, the White Guards defeat a Shaldyba partisan detachment. The remnants of the defeated detachment pour into Levinson's detachment. Partisan intelligence soon finds that the Japanese has surrounded the detachment. To save the main forces from defeat, Levinson decides to break through the chains of enemies.
Chinese workers start a rebellion, arm themselves and take over the train on which they are travelling and manage to break through the frontier.
Shame or Counterplan is a 1932 Soviet drama film directed by Sergei Yutkevich and Fridrikh Ermler. The film’s title-song called "The Song of the Counterplan", composed by Dmitri Shostakovich, became world famous and was adapted into "Au-devant de la vie", a notable song of the French socialist movement of the 1930s. This film could be considered as a Stalin propaganda film. The plot involves an effort to catch "wreckers" at work in a Soviet factory. From Wikipedia, the free encyclopedia
