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Mother (1926)

Mat (original title)
Not Rated | | Drama | 29 May 1934 (USA)
The Film Version Of Gorki's Great Story Of The 1905 Revolution

Director:

Vsevolod Pudovkin

Writers:

Maxim Gorky (novel), Nathan Zarkhi
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Cast

Complete credited cast:
Vera Baranovskaya ... Niovna-Vlasova, the Mother
Nikolay Batalov ... Pavel Vlasov - the Son
Aleksandr Chistyakov ... Vlasov - the Father
Anna Zemtsova Anna Zemtsova ... Anna - a Revolutionary Girl
Ivan Koval-Samborsky ... Vessovchtchnikov - Pavel's Friend
N. Vidonov N. Vidonov ... Misha - a Worker
Aleksandr Savitsky Aleksandr Savitsky ... Isaik Gorbov - the Foreman
Vsevolod Pudovkin ... Police Officer
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Storyline

Russian director Vsevolod I. Pudovkin's "Mother" is the chronicle of an individual's transformation from political naivete to Marxist awareness set during the 1905 Russian Revolution. Pudovkin uses innovative montage techniques and camera angles to tell this bold story of national unrest through the eyes of a working class woman. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

The Film Version Of Gorki's Great Story Of The 1905 Revolution

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Soviet Union

Release Date:

29 May 1934 (USA) See more »

Also Known As:

Mother See more »

Company Credits

Production Co:

Mezhrabpom-Rus See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

First feature film directed by Vsevolod Pudovkin. See more »

Alternate Versions

In 1968, the film was restored, and a musical score added by Tikhon Khrennikov, emphasizing the film's revolutionary message. See more »

Connections

Remade as Mat (1990) See more »

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User Reviews

People into structures
30 August 2011 | by chaos-rampantSee all my reviews

Structures shaping into motion, motions reshaping into structure, against each other, so that the whole thing is like a snowstorm rolling down a hill; gathering itself to itself. Which is to say the people to the people, in an effort at once to reshape and portray the reshaped world.

Look here. The first third ends with a murder, so the entire part is about wild kinetic energy building to it; disenchanted workers plotting a strike – the metaphor for revolution, as so often in these films – factory cronies plotting to break them, pitting rugged father against idealist son. Meanwhile the factory owners, disinterested, arrogant, oversee the bloody drama from their lofty window.

The second third ends with injustice, and so the entire second part is about the mockery of justice; a colonel promising the hapless mother her son – the instigator of events - will be okay if she surrenders a hidden stash of guns, then arresting him, followed by a mock trial where each of the judges presiding is a parody of human values.

The final part is about revolution, so the entire thing is about the preparations of the final stand. Again the revolutionary metaphor, so poignant in these films; a prison filled entirely with workers, farmers, the oppressed with a dream languishing somewhere. And so, everything becomes imbued with meaning; the prison walls as walls at large, the doors slammed open with conflict, the bridge where passage is presaged by a rite of violence.

The strikers scattered by mounted police into a mob, it's the mother who picks up the banner of revolution. Down by the bridge, floating ice is shattered on the concrete pillars; ice dissolves, floating away, but the bridge stands.

And so the suffering and sacrifice of the nameless heroes is transformed into structures that will stand the test of time; bridges, factories, where the banner of revolution unfurls at the top, enduring symbols of a thriving industry, a healthy, self-sufficient nation. We may think what we want about the equation in terms of politics, but how it's equated through cinema?

It comes with the natural ease that only a filmmaking tradition so deeply centered in its worldview could afford; the individual is transmuted, engulfed into a collective structure - the Soviet god in place of a god - , in a way that reveals the individual struggle to have been redolent with purpose all along. It's a spiritual vision, make no mistake; about communion with the life-destroying, life-renewing source; about harmony of structure from the chaos of forms.


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