Maxim Gorky
The social ferment in late 19th century Russia which led to the 1917 Russian Revolution is movingly portrayed in this lengthy historical drama, which is very faithful to the 1907 novel The Mother by the celebrated Marxist writer Maxim Gorky (1868-1936). In the story, "the mother" (Inna Tchourikova) has no other recourse than to watch her decent, kindly husband turn into an animalistic, drunken brute as a result of working in the inhuman conditions of a steel mill in the town of Sormovo. When he begins to express his suppressed rage by beating her, she is defended by her teenaged son Pavel (depicted Viktor Rakov as an adult, Sacha Chichonok as a boy). After his father's death, Pavel is forced to go to work in the same factory. However, Pavel and his friends begin investigating Marxism and socialist thought, and work to organize their fellow workers.
“Without the Sun” is the first name that Gorky himself gave to his play and which most closely matches its essence. For this work is not about the "day" and its people, but about the indestructible, passionate desire of people from darkness to light, to the sun. "
A story from the life in the beginning of XX century based on the theater play by Maxim Gorky.
Screen adaptation of the play by Maxim Gorky "Vassa Zheleznova". Saga of the death of a merchant family. For many years, Vassa Zheleznova has been leading the family business and, despite the inconspicuous children, her dissolute husband, alcoholic brother, and revolutionary daughter-in-law, is trying to maintain at least the appearance of a normal family... 1913 is coming, and everything that was dedicated to her life is wrecked.
This colourful, music-filled and sensual melodrama based on early stories by Maxim Gorky tells the fatal love story between the beautiful and rebellious girl Rada and the handsome horse thief Zobar. The story is set in early 20th century Bessarabia, now part of Moldova, then belonging to the Austro-Hungarian Empire.
This powerful drama about the social ferment that culminated in the 1917 Russian Revolution is set on an estate in provincial Russia in 1905. In a sun-dappled garden, some factory owners and their wives discuss the unrest among the workers. Rather than submit to a strike, they decide to close down the factory. When an owner is slain in a scuffle with a workman, the ensuing investigation uncovers the socialist fervor that is sweeping the countryside. The play goes beyond depicting class struggle by keenly examining the gulfs between youth and old age, vision and shortsightedness, and conservatism versus change.
In the center of the film is a powerful, peculiar, talented Russian man, the largest timber merchant Yegor Bulychyov. He is experiencing a tragic discord with himself, with the world that surrounds him, with great social injustice, to which his whole life has been given. The idea of the film is to determine the purpose and meaning of the existence of the human person, consider its polysyllabic and versatile connections with the world.
Based on the unfinished play by Maxim Gorky "Yakov Bogomolov" about human dignity, that the main stimulus of life is creative work for the benefit of people. Engineer Yakov Bogomolov is a "workaholic" man. He gives himself all to his work, is carried away by it so much that he does not notice what is happening around him. Young wife Olga is cheating on him, friends betray, companions do not understand and deceive...
A poetic melodramatic documentary inspired by the death of Jan Palach. The footage from the funeral is accompanied by the words of Maxim Gorky's Old Woman Izergil (On the Flaming Danek's Heart), sung by Kühn's mixed choir, solos by Milada Sýkorová and Jiří Němeček. The apotheosis of a leader who sacrificed himself to save his people, warning of the cowardice of the crowd.
A paint-on-glass animated film (one of the first of its kind) about a dying falcon and a stupid snake.
Wassa Schelesnowa, a manipulative matriarch who will stop at nothing to keep her business afloat and her family together. Infanticide, forgery, murder, blackmail, adultery, exile, and plain old-fashioned greed are the order of the day as Wassa's colorful clan tries to scheme its way out of the house and into financial independence.
July-December 1917, the country is undergoing a revolution. "The pillars of society" are alarmed by the looming on them menacing events. Some of them are ready to fight with the revolution, others — among them industrialist Vasily Dostigaev trying to "adapt»
Foma Gordeyev, the son of a wealthy Volga merchant, doesn't want to continue his father's work. The mind is sickened by the dirt and injustice of life around him. Foma is seeking solace in a drunken rampage and wild antics. After many years of desolation, he is half-ill at the opening of a night shelter built with his father’s money.
Residents of a rundown boardinghouse in 19th-century Japan, including a mysterious old man and an aging actor, get drawn into a love triangle that turns violent. When amoral thief Sutekichi breaks off his affair with landlady Osugi to romance her younger sister, Okayo, Osugi extracts her revenge by revealing her infidelity to her jealous husband.
Timid old woman Pelageya Nilovna observes the revolutionary activities of her son Pavel Vlasov and gradually comes to realize that his cause is a great and noble one. She involves herself in the movement and finds joy and great courage in her new life as a revolutionary. Based on Gorky's novel, filmed in the silent era by Pudovkin.
Pablo, a wandering laborer, has imprisoned himself in a hell of alcoholism. Cruz, a widow, reaches out to the troubled man, but even her compassion may not be enough to save him.
The monotonous life of a provincial town Verhopoli violates the arrival of the railway builders - engineers Cherkun and Tsyganov.
The tragedy of a talented and strong woman who built the well-being of her family on blood and blood. And well-being turned out to be just as false and ghostly.
Fabrikant, Ilya Artamonov of the former serfs. His desire to strengthen and develop the business knows no obstacles. He is still associated with the peasants and craftsmen, but with his death, this relationship ends. Between Peter Artamonov, his son, who became the owner of the factory, and the workers grows a wall of enmity. The first political speeches are brewing. On the side of the proletariat becomes the heir artemovskogo case Ilya Artamonov, Jr.
My Universities (Moi universiteti) is the last installment of Russian director Mark Donskoy's "Maxim Gorki" trilogy. Having endured a painful youth in My Childhood (1938) and a torturous sojourn as a serf in My Apprenticeship), future writer Gorki (Alexei Lyarsky) reaches maturity with an insatiable desire for personal and artistic freedom. The "university" of the title is actual the school of Hard Knocks, as Gorky goes to work in the shipyards and commisserates with the hard-drinking, philosophical dockworkers. Donskoy's depiction of street life under the Czarist regime of the late 19th century as unrelentingly depressing, filled with disenfranchised derelicts. This, of course, was meant to be a contrast to the "perfection" of the Stalin years. We can forgive this propagandizing in the light of Donskoy's indisputable cinematic brilliance.
The eve of the 1905 Russian revolution was unquiet at the Skrobotova and Bardin factory. In response to the fair demand of the workers to dismiss the cruel and rude master, the masters close the factory and call in the troops. They shoot of one of the workers, who failed to restrain a rush of hatred towards the owners, ending Skrobotov's life. Gendarmes arrive at the factory. They succeed in uncovering the social democratic organization in the factory. The arrested workers oppose hysterical cruelty of gendarmes with calm, confident courage.
Inhabitants of a flophouse struggle to survive under the harsh treatment imposed by the landlord, Kostyleva. One resident, young thief Wasska Pepel, ends his affair with the landlord's wife, Vassilissa, and takes up with her sister, Natacha. Pepel also befriends the baron, a former nobleman fallen on hard times, but Pepel's attempts at happiness are complicated when he's accused of murder by a spiteful Vassilissa.
Pavel Petrov-Bytov was an enfant terrible of the highbrow Leningrad Sovkino film factory. He was notorious for his article “We Have No Soviet Filmmaking,” in which he criticized all the achievements of the Soviet avant-garde. In spite of his beliefs and his scandalous struggle with “bourgeois” and “formalist” filmmaking, Petrov-Bytov directed an aesthetically refined work, shot entirely on set with masterful chiaroscuro lighting: a perfect example of “Soviet expressionism.” Based on a Maxim Gorky story, the plot of Cain and Artem provides a wake-up call to the Russian people to overcome alcoholism and religious factionalism, as it spotlights the (many) drunken denizens of a typical village and their disregard for the Jewish shoemaker Cain.
A symbolist portrait of two gypsies in love, this captivating film finds Dulac deconstructing onscreen gender roles and striving to achieve her idea of cinema as a “visual symphony,” emphasizing rhythmic editing over acting to achieve a “cinema of suggestion.”
A small town boy dreams of being a famous fiddler; meanwhile, two convicts escape from prison and hide in the woods
