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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

Referenced in La buena nueva (2008) See more »

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User Reviews

 
The 12th greatest film of all time.
11 February 2014 | by phobonnikaSee all my reviews

What is it, where is it, how will it affect me? The following of one woman's struggle against Tsarist rule during the Russian Revolution of 1905. Мать, the pristine and devastating silent early work of the bustling mid-1920s Soviet Propaganda film industry, is a triumph on many levels. The ethos surrounding films like it of that certain age and origin: Eisenstein and his similar other Godly directors, is heavily scholarly, intellectual and time-dedicated, so to analyse Мать inside out really is well and truly beyond the amateur's concern to be a condescending writer. But, to be realistic, it's a naïve disgrace to formality if a list doesn't feature one of them on it. Vsevolod Pudovkin, a less known director of the decade's masterminds yet still heralded as a legend by his cult following for his innovative and often deeply personal practice, directs my personal, instinctive pick. Voted by an international panel of critics at the Brussel's World Fair as the 6th greatest film made up until the fateful judging day in 1958, it often loses limelight to the likes of Eisenstein's courageous, raw, untamed Battleship Potemkin and Dovzhenko's calmer, traditionally beautiful social study Earth. Мать, of course in its silent wisdom, force-feeds a supremely strong and vivid depiction of an individual struggle in a time of social instability. Whereas most works of the 1920s Soviet silent era focus on crowd mentality: whereby the struggle is depicted more of a Bayeux Tapestry of confusion and oppression, Pudovkin's take is lovely to see, and from the first few bold moments of Мать, we are introduced to our refreshingly small circle of main characters: a father, a mother, and a son. Few members of the audience will fail to identify with one person in such a configuration, as the aged camera-work of Мать still, after the prestigious test of time, provides a frame, a view to look in at each of the unique yet interconnected struggles of each family member. Мать evolves as clear as crystal before the eyes of any human of any outlook, a living and breathing piece of powerful, political art into a devastating slow riot for a new zero nation. As the realistic violence and suppression of the down-trodden progresses, a timeless and formulaic asset of the kind of film Мать must somewhat conform to be, there's something that smells a bit different in the air. We're always reminded of the maternal bond, its strength and power to drive a soul to unbearable torment, and how such a regime that these films fabricate propaganda against can directly sever it. This link that Мать explores is so volatile and hard-hitting to the blissful maximum extent that the limited medium of the silent, the black and white and that, again, time- honoured formula of the day can allow it to. Pudovkin's abilities with his 1926 sublime masterpiece generate an overwhelming empathy, giving the audience the completely, totally exclusive opportunity to visualise a fresh revolution through the eyes of those who are the most fragile and at risk emotionally from it.


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