The End of St. Petersburg
Anne Nesbet is an associate professor of Slavic languages and literatures and film and media at UC Berkeley.
Aleksandr Chistyakov, Vera Baranovskaya, Ivan Chuvelyov, V. Obolensky,
An exploited peasant suffers through the horrors of war and capital before awakening to the possibility of revolution in Pudovkin’s 1927 dramatic epic, made alongside Eisenstein’s October to honor the tenth anniversary of the 1917 Russian Revolution. While October offers a more sweeping, collectivist account of the period, The End of St. Petersburg benefits from a more personal focus on how the individual is drawn into action. Like Eisenstein, though, Pudovkin knew how to film battle scenes, with several set pieces so powerful and realistic they were used in later documentaries on the Revolution.
The Fall of the Romanov Dynasty (Excerpts)
(Padenie dinastii Romanovykh)
Esfir Shub, USSR, 1927
Esfir Shub was instrumental in the development of dialectical montage, collaborating with Eisenstein on the shooting scripts of Strike and Potemkin. The Fall of the Romanov Dynasty comprises hundreds of films that Shub unearthed and rescued from neglected corners of the Soviet Union, compiling them into a devastating chronicle of Tsarist Russia from the eve of World War I until its brutal demise in the revolutions of 1917.