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Konets Sankt-Peterburga
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Directed by Vsevolod Pudovkin
Filmed to commemorate the tenth anniversary of the 1917 Russian revolution, End of St. Petersburg was the second feature-length effort of director V. I. Pudovkin. Utilizing many of the montage techniques popularized by his contemporary Sergei Eisenstein, Pudovkin details the fall of St. Petersburg into the hands of the Bolsheviks during the revolution. Unlike Eisenstein, Pudovkin concentrates on individuals rather than groups (his protagonist is a politically awakened peasant played by Ivan Chuvelyov) humanizing what might otherwise have been a prosaic historical piece. The mob scenes, though obviously staged for ultimate dramatic impact, are so persuasive that they have frequently been excerpted for documentaries about the Russian Revolution, and accepted by some impressionable viewers as the real thing. Filmed just after his 1926 masterwork Mother, The End of St. Petersburg was followed by the equally brilliant Storm Over Asia. ~ Hal Erickson, All Movie Guide
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"Konets Sankt-Peterburga (The End of St. Petersburg) I watched this one because it was on the same DVD as Zemlya (Earth). I was so dreading watching another of these old Russian propaganda films after my experiences with them continued to get worse and worse. But this one " [More]
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Review by All Movie Guide
All Movie Guide
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Vsevolod Pudovkin's commemorative film has a slightly misleading title; the "end" of St. Petersburg (that is, its transformation to Leningrad) is saved for the film's final reel. The director and his colleagues wanted to offer some context before presenting the storming of the Winter Palace, so we get plenty of back story, with a peasant trading rural poverty for the oppression of factory life, lots of shots of frenzied stock traders representing capitalism at its most mindless, Russia's entry into World War I temporarily staving off the inevitable revolution, and then, finally, the opening of the floodgates for the proletariat to assert itself. There's nothing subtle about Pudovkin's version of history; the war is portrayed as a "transaction" fought "in the name of the Czar, the Fatherland, and money!" as battle scenes alternate with more shots of stock trading. But the vigor of the images is also exhilarating, and the dynamism of the editing intoxicating. Pudovkin invests an immense amount of faith in imagery to tell a story, and no matter what your own politics or interpretation of history, you can't help admire the sheer joy he takes in filmmaking. ~ Tom Wiener, All Movie Guide
 

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