Vsevolod Pudovkin

A story about a family torn apart by a worker’s strike. At first, the mother wants to protect her family from the troublemakers, but eventually she realizes that her son is right and the workers should strike.Read More »

In 1918 a simple Mongol herdsman escapes to the hills after brawling with a western capitalist fur trader who cheats him. In 1920 he helps the partisans fight for the Soviets against the occupying army. However he is captured when the army tries to requisition cattle from the herdsmen at the same time as the commandant meets with the reincarnated Grand Lama. After being shot, the army discovers an amulet that suggests he was a direct descendant of Genghis Khan. They find him still alive, so the army restores his health and plans to use him as the head of a Mongolian puppet regime.Read More »

Filmed to commemorate the tenth anniversary of the 1917 Russian revolution, End of St. Petersburg was the second feature-length effort of director V. I. Pudovkin. Utilizing many of the montage techniques popularized by his contemporary Sergei Eisenstein, Pudovkin details the fall of St. Petersburg into the hands of the Bolsheviks during the revolution. Unlike Eisenstein, Pudovkin concentrates on individuals rather than groups (his protagonist is a politically awakened peasant played by Ivan Chuvelyov) humanizing what might otherwise have been a prosaic historical piece. The mob scenes, though obviously staged for ultimate dramatic impact, are so persuasive that they have frequently been excerpted for documentaries about the Russian Revolution, and accepted by some impressionable viewers as the real thing. Filmed just after his 1926 masterwork Mother, The End of St. Petersburg was followed by the equally brilliant Storm Over Asia.
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