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The Last Bolshevik (1993)

Le tombeau d'Alexandre (original title)
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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25 March 1993 (Finland)  »

Also Known As:

Elegia a Alexandre  »

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Edited from October (Ten Days that Shook the World) (1928) See more »

Soundtracks

Concerto de violon
Music by Alfred Shnitke
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User Reviews

 
Marker's Political Agenda prevails over his homage to Medvedkin
28 July 2013 | by (Chicago United States) – See all my reviews

Taking his cue from a citation of George Steiner to the effect that it is not history that we remember ("was eigenlich geschehen ist"), but the images of that past time, Marker has taken liberties with the official images of the Soviet era to construct a montage that takes pot shots at the rift between the official images of the USSR and the reality. Easy enough to do, but this hardly illuminates the historical truth about the circumstances under which an attempt was made to fulfill the dreams of Bolsheviks like Medvedkin--namely to raise, in little more than a blink of the eye, the cultural and material standard of living of the degraded and oppressed peasantry and proletariat of Czarist Russia. In a sense, his homage to Medvedkin ends up demeaning the utopian spirit of the latter and reduces, perhaps unwittingly, Medvedkin's endeavors to something foolhardy and ingenuous at best.


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