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
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Title: The Rider Named Death (2004)
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1 nomination.
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Cast
| Credited cast: | |||
| Andrey Panin | ... | Georges | |
| Kseniya Rappoport | ... | Erna | |
| Artyom Semakin | ... | Vanya | |
 |
Rostislav Bershauer | ... | Fyodor (as R. Bershauer) |
| Anastasiya Makeeva | ... | Elena | |
|
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Aleksey Kazakov | ... | Heinrich |
| Dmitriy Dyuzhev | ... | Azef | |
|
|
Valeriy Storozhik | ... | Elena's Husband |
| Dmitriy Gusev | ... | Gashkes | |
|
|
Vasiliy Zotov | ... | The Grand Prince Sergei Aleksandrovich |
|
|
Anna Gorshkova | ... | Rogoznikova |
| Rest of cast listed alphabetically: | |||
|
|
Zurab Sotkilava | ||
Learn more
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Plot Summary
|
Plot Synopsis
Storyline
In pre-Soviet Russia, Boris Savinkov leads a terrorist faction of Socialist-Revolutionary Party members responsible for the deaths of governors and ministers.
Genres:
DramaCertificate:
Not RatedParents Guide:
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Details
Country:
RussiaRelease Date:
22 April 2004 (Russia) See more »Also Known As:
The Rider Named Death See more »Filming Locations:
Bolshoi Theatre, Theatre Square, Tverskoy District, Moscow, RussiaEdit
Box Office
Opening Weekend USA:
$2,438, 20 March 2005Gross USA:
$3,375Cumulative Worldwide Gross:
$1,338,136Company Credits
Show more on
IMDbPro »
Technical Specs
Sound Mix:
Dolby DigitalColor:
ColorAspect Ratio:
1.33 : 1Contribute to This Page
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"A Rider Named Death" is a political thriller focusing on a small terror cell in 1905 Russia.
The film is certainly interesting, as it examines the nihilism that lies beneath the bombers' "principled" violence. However, it suffers from an reluctance to probe these motives too deeply. Character development is neglected in favor of building atmosphere. Of the film's characters, only George and Vanya are three-dimensional. Vanya in particular is one of the film's highlights, a contradictory figure whose fervor for revolution is tempered by his Christian values of love and peace.
However, this atmosphere is one of the film's great joys. It depicts late Czarist Russia as a nonstop carnival for the wealthy and nonstop drudgery for the poor. It is a shame that the filmmakers did not spend enough time developing it.