7.4/10
1,274
15 user 18 critic

Arsenal (1929)

Not Rated | | Drama, War | 9 November 1929 (USA)
Set in the bleak aftermath and devastation of the World War I, a recently demobbed soldier, Timosh, returns to his hometown Kiev, after having survived a train wreck. His arrival coincides ... See full summary »
Reviews

Watch Now

From $2.99 (SD) on Amazon Video

ON DISC
1 win. See more awards »
Learn more

People who liked this also liked... 

Zvenigora (1928)
Drama | Fantasy
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Zvenigora stars Nikolai Nademsky (Earth), as the grandfather of Timoshka (Semyon Svashenko), whom he alerts to secret treasure buried in the mountains and the boy spends the rest of his ... See full synopsis »

Director: Aleksandr Dovzhenko
Stars: Georgi Astafyev, Nikolai Nademsky, Vladimir Uralskiy
Zemlya (1930)
Drama
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

In the peaceful countryside, Vassily opposes the rich kulaks over the coming of collective farming.

Director: Aleksandr Dovzhenko
Stars: Stepan Shkurat, Semyon Svashenko, Yuliya Solntseva
Mother (1926)
Drama
    1 2 3 4 5 6 7 8 9 10 7.7/10 X  

The Film Version Of Gorki's Great Story Of The 1905 Revolution

Director: Vsevolod Pudovkin
Stars: Vera Baranovskaya, Nikolay Batalov, Aleksandr Chistyakov
Drama | History
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

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 ... See full summary »

Directors: Grigoriy Aleksandrov, Sergei M. Eisenstein
Stars: Boris Livanov, Nikolay Popov, Vasili Nikandrov
Drama
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

A peasant comes to St. Petersburg to find work. He unwittingly helps in the arrest of an old village friend who is now a labor leader. The unemployed peasant is also arrested and sent to ... See full summary »

Directors: Vsevolod Pudovkin, Mikhail Doller
Stars: Aleksandr Chistyakov, Vera Baranovskaya, Ivan Chuvelyov
Ivan (1932)
Drama
    1 2 3 4 5 6 7 8 9 10 6.7/10 X  

After the critical lambasting of his masterpiece Earth, Dovzhenko returned with a more popular iteration of its main motifs. Much like Earth, Ivan concerns itself with the natural rhythms ... See full summary »

Director: Aleksandr Dovzhenko
Stars: K. Bondarevsky, Dmitri Golubinsky, Elena Golki
Stachka (1925)
Drama
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

A group of oppressed factory workers go on strike in pre-revolutionary Russia.

Director: Sergei M. Eisenstein
Stars: Grigoriy Aleksandrov, Maksim Shtraukh, Mikhail Gomorov
Frontier (1935)
Drama
    1 2 3 4 5 6 7 8 9 10 6.3/10 X  

A Russian outpost in Eastern Siberia comes under threat of attack by the Japanese in this patriotic film from 1935. Aerograd is a new town with a strategically located airfield of vital interest to the government.

Director: Aleksandr Dovzhenko
Stars: Stepan Shagaida, Sergei Stolyarov, Evgeniya Melnikova
Drama | War
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

In 1918 a simple Mongolian 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... See full summary »

Director: Vsevolod Pudovkin
Stars: I. Inkizhinov, I. Dedintsev, Valéry Inkijinoff
Biography | Drama | History
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

During the early part of his reign, Ivan the Terrible faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people.

Director: Sergei M. Eisenstein
Stars: Nikolay Cherkasov, Lyudmila Tselikovskaya, Serafima Birman
Drama | Music | Romance
    1 2 3 4 5 6 7 8 9 10 8.1/10 X  

In a Carpathian village, Ivan falls in love with Marichka, the daughter of his father's killer. When tragedy befalls her, his grief lasts months; finally he rejoins the colorful life around... See full summary »

Director: Sergei Parajanov
Stars: Ivan Mykolaichuk, Larisa Kadochnikova, Tatyana Bestayeva
Po zakonu (1926)
Drama
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

A five-person team of gold prospectors in the Yukon has just begun to enjoy great success when one of the members snaps, and suddenly kills two of the others. The two survivors, a husband ... See full summary »

Director: Lev Kuleshov
Stars: Aleksandra Khokhlova, Sergey Komarov, Vladimir Fogel
Edit

Cast

Credited cast:
Semyon Svashenko ...
Timosh, the Ukrainian
Amvrosi Buchma ...
Georgi Khorkov ...
A Red Army Soldier (as G. Khorkov)
Dmitri Erdman ...
A German Officer
Sergey Petrov ...
A German Soldier
M. Mikhajlovsky ...
A Nationalist
Aleksandr Evdakov ...
Nikolai Kuchinsky ...
Petliura
O. Merlatti ...
Sadovsky (as F. Merlatti)
Nikolai Nademsky ...
Grandpa
Rest of cast listed alphabetically:
Luciano Albertini ...
Raffaele
Pyotr Masokha ...
Workman
Les Podorozhnij ...
Pavloo
T. Wagner
Boris Zagorsky ...
Dead Soldier
Edit

Storyline

Set in the bleak aftermath and devastation of the World War I, a recently demobbed soldier, Timosh, returns to his hometown Kiev, after having survived a train wreck. His arrival coincides with a national celebration of Ukrainian freedom, but the festivities are not to last as a disenchanted. Written by Mr Bongo

Plot Summary | Add Synopsis

Genres:

Drama | War

Certificate:

Not Rated | See all certifications »
Edit

Details

Country:

Language:

|

Release Date:

9 November 1929 (USA)  »

Also Known As:

Arsenaal  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(Copy with French subtitles at Brussels Musée du Cinéma)

Sound Mix:

Aspect Ratio:

1.33 : 1
See  »
Edit

Did You Know?

Goofs

In a scene early in the film, a soldier lies dead, covered with sand, but the sand can be seen to rise and fall with the actor's breathing. See more »

Connections

Referenced in La chinoise (1967) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

Eye whipped into motion
6 September 2011 | by (Greece) – See all my reviews

It boggles the mind to contemplate how far back was cinema set with the advent of sound; not sound per se, but the whole political environment that was concurrent at the time. So many fascinating experiments with film were afoot by the late 20's and would be put on hold for the next twenty, thirty years.

With DW Griffith ten years before, cinema was a transliteration. The narrative was straight-forward, time, even when broken apart, was a straight line that rushed towards climax that revealed our placement in destiny, the chain of causality was clearly defined - this begat that, and we perfectly understood why. Film was merely a tool of chronicle, with the gods - the mechanisms above - and shadows - the internal image outwardly recast - largely taken out.

But just ten years later, something like this was already so far ahead. So, the causality of events is left to our sphere of imagination, narrative is fragmented, purposely eliptic into modernist abstraction. Images require our folding in them to be complete with meaning, or channel their imports across different levels of experience; there is a scene of men rushing on horses to bury their comrade, they could be rushing into a number of things; and back at the weapons foundry where a strike is holding up, eloquent shots of machinery whirring in motion suggest afoot the social machinations at large. Life here is not passed down to us whole, with purpose or meaning; but is rather the process of coming into being.

This is far-reaching stuff in terms of what can be done with cinema. It posits that the image can directly depict private, inner states and larger, collective worlds as bound together by common soul - the oppressed peasants motionless like zombies, the military officer mechanically shooting at partisans. The shots of galloping horses are frenzied, but up above the clouded skies ebb with time. So, what started only a couple of years before in Soviet studios had reached this apex; image was engineered - or perhaps intuited in the case of Dovzhenko, who was the least of the theorists - to unify vision. The empire is inland as well as out, and stretches across the one space.

There are few words in all of this, our safe passage with logic is made perilous, adventuresome. Germanic cinema offered us the world of noir and I am grateful to them; but when it comes to what we often call 'pure cinema' as a quick resort, they could not match here - or France.

Oh, there is The Last Laugh, which is a marvellous study. But purely in terms of images Dovzhenko is worth two or three of those.


4 of 4 people found this review helpful.  Was this review helpful to you?

Contribute to This Page

Create a character page for:
?