The Rider Named Death (2004)
"Vsadnik po imeni Smert" (original title)

In pre-Soviet Russia, Boris Savinkov leads a terrorist faction of Socialist-Revolutionary Party members responsible for the deaths of governors and ministers.

Director:

Karen Shakhnazarov

Writers:

Aleksandr Borodyanskiy, Boris Savinkov (novel)

Stars:

Andrey Panin, Kseniya Rappoport, Artyom Semakin

1 nomination.

Cast

Cast overview:
Andrey Panin	...	Georges
Kseniya Rappoport	...	Erna
Artyom Semakin	...	Vanya
Rostislav Bershauer	...	Fyodor (as R. Bershauer)
Anastasiya Makeyeva	...	Elena
Aleksei Kazakov	...	Heinrich
Dmitriy Dyuzhev	...	Azef
Valeriy Storozhik	...	Elena's Husband
Dmitriy Gusev	...	Gashkes
Vasiliy Zotov	...	The Grand Prince Sergei Aleksandrovich
Anna Gorshkova	...	Rogoznikova

Storyline

In pre-Soviet Russia, Boris Savinkov leads a terrorist faction of Socialist-Revolutionary Party members responsible for the deaths of governors and ministers.

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Plot Keywords:

terrorist | russia | grand duke | explosion | nihilism | 

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Genres:

Drama

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Details

Official Sites:

Kino International

Country:

Russia

Language:

Russian French

Release Date:

22 April 2004 (Russia)

Also Known As:

The Rider Named Death

Filming Locations:

Bolshoi Theatre, Theatre Square, Tverskoy District, Moscow, Russia

Box Office

Opening Weekend:

$2,438 (USA) (18 March 2005)

Gross:

$2,438 (USA) (18 March 2005)

Company Credits

Production Co:

Mosfilm

Technical Specs

Runtime:

106 min

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.33 : 1

Did You Know?

Quotes

Vanya: To me, the revolution is terror. I believe in terror.

User Reviews

Interesting portrait of a cold killer

"A Horseman by the name of Death" is the story of a terrorist set at the beginning of the 20th century when anarchists and communists were rehearsing for the Great Revolution. It mixes a bourgeois love triangle with a background of political turmoil and decadent society. It is by no means a great film: the plot is linear and sometimes outright simplistic, the characters somewhat schematic, and some of the great images are disturbingly blurred. Admittedly, this may be intentional, as if we would be looking at old pictures. The film's main merit is to explore the motivations of a cold blooded murderer and his accomplices. It shows the fascination for death and for those who bring it about, something that rings a bell in our times, punctuated by extreme acts of violence. The Russian movie industry is by no means dead, but it needs more films like this one, and a better organisation of distribution, which for the time being is rather confidential, even in Moscow.