The End of St. Petersburg



Rotten Tomatoes Critics - Certified Fresh 83%
Rotten Tomatoes Audience - Upright 82%
IMDb Rating 7.3 10 1


Downloaded times
August 4, 2020


720p.BLU 1080p.BLU
673.76 MB
Russian 2.0
23.976 fps
85 min
P/S N/A / N/A
1.22 GB
Russian 2.0
23.976 fps
85 min
P/S N/A / N/A

Movie Reviews

Reviewed by tbyrne4 10 / 10 / 10

Startling early Russian silent

Wow!! I wasn't expecting something like this. Quite frankly, silent Russian directors make American directors of the same era look anemic by comparison. Nearly every shot in this film is poetry - beautifully composed, lit, not over-acted (like so many silents), simple, and brutally powerfully. The faces, the atmosphere. Vsevolod had an AMAZING eye for composition. The close-ups are gorgeous and intense and fiery and the wide shots are breathtaking in the way they emphasize man's fragile diminutive size. Of course, this is a propaganda film, so the upper class are portrayed as fat, hysterical beast-people and the lower-class are all rough-hewn and beautiful, but WHO CARES when the movie is this good! And this is during the age of Eisenstein so the quick-cut editing comes into play during the end with the big overthrow of St. Petersburg with great edits that are nearly subliminal. Wonderful stuff

Reviewed by toqtaqiya2 10 / 10 / 10

No matter what your own politics or interpretation of history, you can't help admire the sheer joy Pudovkin takes in filmmaking.

Trained in physics and chemistry, Vsevolod Pudovkin joined Lev Kuleshov's film workshop soon after the Bolshevik Revolution in Russia in 1917. He systemized the master's methods in the pamphlet Film Technique (1926), which ennobled editing as the alpha and omega of film art. Pudovkin also insisted that the filmmaker had to make every scene vivid through facial expression and those details of setting he called 'plastic material'. Although critics judged Sergei Eisenstein the deeper theorist, Pudovkin's doctrines became canonical for aspiring filmmakers everywhere. By treating filmmaking as a matter of strict calculation, Pudovkin may have led critics to overlook his forceful storytelling and poetic imagination. The End Of St. Petersburg remains a powerful portrayal of the 1917 Revolution, seen from the bottom. Pudovkin follows D.W. Griffith in contriving to balance historical sweep with personal drama in a way that The Battleship Potemkin (1925) never attempts. In the most famous sequence, Pudovkin cross-cuts the battlefield with the stock exchange not only to illustrate how war yields profits but also to stir our anger at the obvious contrast between frenziedly bidding brokers and dead soldiers frozen in the mud. Throughout, the political lessons arise from emotional details. Once considered Eisenstein's peer, Pudovkin has wandered into the shadows. Mother (1926), a striking adaptation of Maxim Gorky's novel, has largely been remembered for its textbook montage. Adventurous experiments like Storm Over Asia (1928), A Simple Case (1932) and Deserter (1933) have largely been forgotten.

Reviewed by JohnSeal 10 / 10 / 10

They don't make 'em like they used to

The End of St Petersburg was another landmark of Soviet realist cinema, as good as if not better than Battleship Potemkin, Strike, or Storm Over Asia. It's incredibly powerful, with many absolutely stunning montage sequences that make today's quick cut edits look like like child's play in comparison. The language of cinema was invented in Russia and Germany by artists like Pudovkin, Eisenstein, Murnau, and Lang. Anyone interested in cinema history needs to see films like this one to appreciate how weak our current crop of auteurs truly are.

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