After the critical lambasting of his masterpiece Earth, Dovzhenko returned with a more popular iteration of its main motifs. Much like Earth, Ivan concerns itself with the natural rhythms ... See full summary »
Set in the bleak aftermath and devastation of the World War I, a recently demobbed soldier, Timosh, returns to his hometown Kiev, after having survived a train wreck. His arrival coincides ... See full summary »
Zvenigora stars Nikolai Nademsky (Earth), as the grandfather of Timoshka (Semyon Svashenko), whom he alerts to secret treasure buried in the mountains and the boy spends the rest of his ... See full synopsis »
In the midst of the Russian Revolution of 1905, the crew of the battleship Potemkin mutiny against the brutal, tyrannical regime of the vessel's officers. The resulting street demonstration in Odessa brings on a police massacre.
Sergei M. Eisenstein
Anna Bedford, a young and idealistic girl from Pennsylvania, accepts a State Department assignment to serve in the US Embassy in Moscow shortly after the allied victory over fascist Germany... See full summary »
Wandering minstrel Ashik Kerib falls in love with a rich merchant's daughter, but is spurned by her father and forced to roam the world for a thousand and one nights - but not before he's ... See full summary »
An earthy, epic historical drama set during World War I and the Russian Civil War, Shchors is a biographical portrait of the partisan leader and communist Nikolai Shchors, one of the few indisputable Bolshevik icons of Ukrainian origin. The work was commissioned by Stalin himself, who asked Dovzhenko to "give us a Ukrainian Chapayev" - a reference to the popular (though mediocre) 1934 film by Sergei and Georgi Vasiliev depicting the heroic exploits of a folksy Russian Red Army commander. The prolonged production of Shchors proved a nightmare for Dovzhenko, who was forced to submit every creative decision and every episode for high-level political approval, and who found himself accused of Ukrainian nationalism by Stalin's increasingly paranoid henchmen. There is one remarkable, picturesque sequence of burial. Nothing else. Shchors represents the glory of socialist-realist restrictions imposed upon an artist, the ultimate product of Zhdanovist canons. Nothing left of Dovzhenko's dynamic energy and fervent poetry featured in his best picture, 'Earth.'
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