7.6/10
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Konets Sankt-Peterburga (1927)

Not Rated | | Drama | 30 May 1928 (USA)
A peasant comes to St. Petersburg to find work. He unwittingly helps in the arrest of an old village friend who is now a labor leader. The unemployed peasant is also arrested and sent to ... See full summary »

Directors:

Vsevolod Pudovkin, Mikhail Doller (co-director)

Writer:

Nathan Zarkhi
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Cast

Credited cast:
Aleksandr Chistyakov ... A worker
Vera Baranovskaya ... His wife
Ivan Chuvelyov Ivan Chuvelyov ... Peasant boy
V. Obolensky V. Obolensky ... Lebedev
Sergey Komarov ... His employer
Viktor Tsoppi Viktor Tsoppi ... Patriot
Rest of cast listed alphabetically:
Aleksei Davor Aleksei Davor
Vladimir Fogel ... German Officer
Aleksandr Gromov Aleksandr Gromov ... Revolutionary (as A. Gromov)
Nikolay Khmelyov
Vsevolod Pudovkin ... German Officer
Max Tereshkovich Max Tereshkovich
M. Tsybulsky M. Tsybulsky
Anna Zemtsova Anna Zemtsova
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Storyline

A peasant comes to St. Petersburg to find work. He unwittingly helps in the arrest of an old village friend who is now a labor leader. The unemployed peasant is also arrested and sent to fight in World War I. After three years, he returns ready for revolution. Written by Erik Gregersen <erik@astro.as.utexas.edu>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Soviet Union

Release Date:

30 May 1928 (USA) See more »

Also Known As:

The End of St. Petersburg 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

Vsevolod Pudovkin: The German officer. See more »

Connections

Featured in Edge Codes.com: The Art of Motion Picture Editing (2004) See more »

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User Reviews

 
Epic, too long but artfully done
10 December 2015 | by samanthamarciafarmerSee all my reviews

Early on in The End of St. Petersburg, Pudovkin's reputation as a montage director is evidenced. A lake shore and rising sun is paired with a view of a windmill, linking together to form a more complete view of the morning. Montages show up later, most notably a scene in which an official stands up, the camera cuts to the chair falling and breaking, and then to an attendant's shocked face. These are instances wherein Pudovkin's linkage method is clear, as the images relate and build a fuller scene. However, there is a scene one might consider more in the vein of Eisenstein: footage of soldiers rushing out of trenches in WWI is interspersed with shots of businessmen viewed from above running up steps of buildings. They are surely different, and they juxtapose sharply. Perhaps Pudovkin aimed to show the differences of those two scenes, or maybe to show that they are similar as well. Shots of a chalkboard in between these two parallel worlds (it is unsure if it belongs in that of the businessmen, but one tends to assume it does) suggest that soldiers' deaths and workers' labor are but numbers. These scenes could come off as heavy handed, but they are nuanced and the film is an intricate piece of plot and tasteful treatment of history. The depiction of WWI doesn't hold anything back, with shots of bodies floating in trenches and men being gunned down in mass. The narrative of the villager is engrossing; it doesn't overshadow the history itself and yet the film would feel lacking without it; Ivan Chuvelev's piercing stare is taken full advantage of to provide a haunting and unsettling sensation. Pudovkin's The End of St. Petersburg is a cinematic epic, but not in the same vein as Battleship Potemkin; it is a lighter, more detail-oriented fare.


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