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The Last Bolshevik (1993)
"Le tombeau d'Alexandre" (original title)

7.7
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Ratings: 7.7/10 from 374 users  
Reviews: 5 user | 14 critic

This documentary tells the story of film director Aleksandr Medvedkin, throughout his life a sincere believer in communism, whose films were repeatedly banned in the Soviet Union. Modern ... See full summary »

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Cast

Cast overview, first billed only:
Léonor Graser ...
Dinosaur girl
Nikolai Izvolov ...
Guest
Kira Paramonova ...
Guest
Viktor Dyomin ...
Guest (as Viktor Diomen)
Yuli Raizman ...
Guest
Marina Kalasieva ...
Guest
Aleksandr Medvedkin ...
Himself (archive footage)
Lev Rochal ...
Guest
Vladimir Dmitriev ...
Guest (as Vladimir Dimitriev)
Antonina Pirojkova ...
Guest
Albert Schulte ...
Interviewee
Rhona Campbell ...
Guest
Marina Goldovskaya ...
Guest
Yakov Tolchan ...
Guest
Sofia Prituliak ...
Guest
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Storyline

This documentary tells the story of film director Aleksandr Medvedkin, throughout his life a sincere believer in communism, whose films were repeatedly banned in the Soviet Union. Modern Russian film students express their excitement at seeing his film HAPPINESS for the first time, and his contemporaries shed light on his life and work. Written by George S. Davis <mgeorges@prodigy.net>

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Release Date:

25 March 1993 (Finland)  »

Also Known As:

Elegia a Alexandre  »

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Concerto de violon
Music by Alfred Schnittke
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User Reviews

 
Fine Biography of an Unlikable Man
15 January 2006 | by (Buenos Aires, Argentina) – See all my reviews

The Last Bolshevik is a documentary about the Soviet filmmaker Alexander Medvedkin. French Director (and fellow traveler) Chris Marker obviously admires his subject, and he means this to be a sympathetic film. Yet, I find it difficult to share his admiration. On an artistic level, even though I have never seen a Medvedkin film, and it is impossible to judge a director's craft by the segments shown here (lasting a few minutes), I can say there is nothing in the movie that makes me suspect we are in front of a major artist. More complicated is the political aspect of his life. He was a life long unrepentant communist. The film makes much of the fact that his movies represented the soviet artistic vanguard that Stalin ended dramatically in the early 1930s. Yet, during the Stalin era, not only he was not repressed, but he was able to make Stalinist movies (Marker show some segments of these movies, too). On the whole, this is a fine movie about a man whose life I consider to have been less than exemplary


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