In documentary style, events in Petrograd are re-enacted from the end of the monarchy in February of 1917 to the end of the provisional government and the decrees of peace and of land in November of that year. Lenin returns in April. In July, counter-revolutionaries put down a spontaneous revolt, and Lenin’s arrest is ordered. By late October, the Bolsheviks are ready to strike: ten days will shake the world. While the Mensheviks vacillate, an advance guard infiltrates the palace. Anatov-Oveyenko leads the attack and signs the proclamation dissolving the provisional government. —IMDb
The son of a shipbuilder, Eisenstein chose a career in the arts over engineering or architecture. After W.W. I he worked as a designer and a director in the theater, where he developed his theory of “Soviet realism.” One of his plays was staged not in a theater but in a gasworks. It was inevitable that Eisenstein would gravitate toward cinema, with its natural potential for realism.
His 1st film, Strike (1924), was so inventive and vigorous that it drew immediate attention. The 27-year-old director filmed Potemkin in 2 months. It is remarkable for its maturity and masterly use of camera techniques. Eisenstein was also a pioneer in film editing, and the film is a virtual textbook of this art. In a famous scene, a baby carriage rolls down a long flight of steps while a horrified student watches helplessly from below. The images are intercut and the action slows down, alternating the separate images into one shocking scene. So original was his style that even though it has been… read more
Grigori Vasilyevich Aleksandrov or Alexandrov (Russian: Григорий Васильевич Александров – original family name was Мормоненко or Mormonenko; 23 January 1903 – 16 December 1983) was a prominent Soviet film director who was named a People’s Artist of the USSR in 1947 and a Hero of Socialist Labor in 1973. He was awarded the Stalin Prizes for 1941 and 1950.
Initially associated with Sergei Eisenstein, with whom he worked as a co-director, screenwriter and actor, Aleksandrov became a major director in his own right in the 1930s, when he directed Jolly Fellows and a string of other musical comedies starring his wife Lyubov Orlova.
Though Aleksandrov remained active until his death, his musicals, amongst the first made in the Soviet Union, remain his most popular films. They rival Ivan Pyryev’s films as the most effective and light-hearted showcase ever designed for Stalin-era USSR.
Aleksandrov was born Grigori Vasilyevich Mormonenko in Ekaterinburg, Russia in 1903. Starting… read more
So fucking powerful. Even if you don't agree with the subversive values that are presented and the way the events are portrayed, there's no way of denying the historical importance of Eisenstein's work and his contributes to cinema - he really was the early master of editing techniques. Also, it made the Russian Revolution far more easy and interesting to study than my endless notes and I feel grateful for that.
Eisenstein, who was so far ahead of time in terms of innovation, recreated the revolution here in his state sponsered film. Often brilliant yet perhaps overly simplistic in terms of storytelling at times. Great use of extras with well thought out framing and editing. Various dp's offered several looks to the picture. It's no "Potemkin" or "Ivan" but is an important piece of film history regardless.Thanks to mosfilm
The Special will be celebrating the 60th anniversary of Positif and the 50th of the Oberhausen Manifesto.