This is called the first Soviet science fiction film because of its "futuristic" sets on Mars, although most of it takes place in Moscow. The movie is set at the beginning of the NEP (New ... See full summary »
Cinematographic adaptation of classical Russian play "Dowry-less" by A. Ostrovsky. Noble but poor widow seeks to arrange marriage for her three daughters. She maintains "open house" or ... See full summary »
Hamlet, Prince of Denmark, returns home to find his father murdered by Claudius, Hamlet's uncle. Claudius usurps the throne of Denmark, and marries Hamlet's recently widowed mother. Hamlet is tormented, haunted, and increasingly unstable.
Tonya has just graduated from the trade school and found a job as a cook in a Siberian village. She is naive but open hearted and kind. When Ilya starts flirting with her she takes it as a ... See full summary »
The series, based on a popular novel of the same name, depicts the exploits of a Russian spy Isaev, working undercover as Standartenfuhrer Stierlitz, in Nazi Germany during 17 days in very ... See full summary »
A former aristocrat Ippolit Vorobyaninov leads a miserable life in Soviet Russia. His mother-in-law reveals a secret to him - she hid family diamonds in one of the twelve chairs they once ... See full summary »
This early Russian sound film is actually a part talkie - like the THE THEFT OF THE MONA LISA or THE WHITE DEVIL with much of the action carried in inset titles and a music and effects track. This one is however more interesting in it's mixing of the two forms. The talking crew go to a screening of the silent movie (shown in the old format) and, at the end, the Bishop's sermon becomes a lying voice over for the actual silent movie coverage of events.
Yacov Protazanov is one of the most intriguing figures of the early Russian film. His QUEEN OF SPADES may well be the most remarkable Tsarist era movie and his career continued to WW2, though only his AELITA, the science fiction movie with Mrs. Dovzhenko getting about in a constructivist bikini is at all known.
This rarely seen film was presumably a dodgy release prospect outside it's home market, with it's unstinting anti clerical content. The priests, stock market officials and police conspire to squeeze income out of pilgrims come to see relics of a Christ like figure. The con man duo beat their time by passing the lead off as the resurrected saint.
Ilinsky (Protazanov's THE TAILOR FROM TORZOK) only gets to speak a couple of times but does some routines, of which his Cathedral steps dance is a highlight. The design is often striking - big exterior sets, mobs of pilgrims (which are cross cut with sheep.) Like Medevkin's HAPPINESS this one contradicts the accepted notion of early Soviet film as montaged dramas of class struggle - and it's fun.
11 of 11 people found this review helpful.
Was this review helpful to you?