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 »
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 »
Sergei M. Eisenstein
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 »
A surrealist tale of a man and a woman passionately in love with one another, but their attempts to consummate that passion are constantly thwarted by their families, the Church, and bourgeois society.
Caridad de Laberdesque
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 »
Dovzhenko's "film poem" style brings to life the collective experience of life for the Ukranian proles, examining natural cycles through his epic montage. He explores life, death, violence, sex, and other issues as they relate to the collective farms. An idealistic vision of the possibilities of Communism made just before Stalinism set in and the Kulack class was liquidated, "Earth" was viewed negatively by many Soviets because of its exploration of death and other dark issues that come with revolution. Written by
Jeff Walker <firstname.lastname@example.org>
This great masterpiece of Soviet cinema has images so powerful and an editing technique so bold that at times the narrative is transcended. By this I mean that the film goes beyond it's original intention of arguing for changes from individualistic to more technologized and collective agricultural strategies and becomes a kind of realization of what a "liberated" agricultural zone would really look and feel like. This is a film ripe with the excitement of the creation of a new art to match a hopeful new world. It hardly needs to be mentioned that Stalinsit forces decried the final results of this masterpiece; calling it decadent and stylistically elitist. In actuality the film is too Marxist (I would go so far as to say too Leninist) for Stalinism. The film respects the ability of the viewer (and the viewers were assumed to be proletariat working class and agricultural workers) to grapple with rigorous ideas and images and to function outside of the narrative frame of individualistic melodrama. Like many early Soviet films this work seems not only ahead of its time, but, actually ahead of ours.
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