Mat

Structures shaping into motion, motions reshaping into structure, against each other, so that the whole thing is like a snowstorm rolling down a hill; gathering itself to itself. Which is to say the people to the people, in an effort at once to reshape and portray the reshaped world.

Look here. The first third ends with a murder, so the entire part is about wild kinetic energy building to it; disenchanted workers plotting a strike – the metaphor for revolution, as so often in these films – factory cronies plotting to break them, pitting rugged father against idealist son. Meanwhile the factory owners, disinterested, arrogant, oversee the bloody drama from their lofty window.

The second third ends with injustice, and so the entire second part is about the mockery of justice; a colonel promising the hapless mother her son – the instigator of events - will be okay if she surrenders a hidden stash of guns, then arresting him, followed by a mock trial where each of the judges presiding is a parody of human values.

The final part is about revolution, so the entire thing is about the preparations of the final stand. Again the revolutionary metaphor, so poignant in these films; a prison filled entirely with workers, farmers, the oppressed with a dream languishing somewhere. And so, everything becomes imbued with meaning; the prison walls as walls at large, the doors slammed open with conflict, the bridge where passage is presaged by a rite of violence.

The strikers scattered by mounted police into a mob, it's the mother who picks up the banner of revolution. Down by the bridge, floating ice is shattered on the concrete pillars; ice dissolves, floating away, but the bridge stands.

And so the suffering and sacrifice of the nameless heroes is transformed into structures that will stand the test of time; bridges, factories, where the banner of revolution unfurls at the top, enduring symbols of a thriving industry, a healthy, self-sufficient nation. We may think what we want about the equation in terms of politics, but how it's equated through cinema?

It comes with the natural ease that only a filmmaking tradition so deeply centered in its worldview could afford; the individual is transmuted, engulfed into a collective structure - the Soviet god in place of a god - , in a way that reveals the individual struggle to have been redolent with purpose all along. It's a spiritual vision, make no mistake; about communion with the life-destroying, life-renewing source; about harmony of structure from the chaos of forms.

Soviet filmmaker Vsevolod Pudovkin had produced a number of short films displaying his adapt handling from the teachings Moscow Film School instructor Lev Kuleshov on the messaging of montage editing. In 1926, Pudovkin embarked on reworking Maxim Gorky's 1906 novel, 'The Mother,' to illustrate the heroics of a mother whose son joins factory strikers in the face of brutal Tsarist troops. The October 1926 "Mother" proved to be one of cinema's most visible example of using editing techniques to fully explain the inner motivations of individual characters. Pudovkin's work departed from his film colleagues who implemented the montage to illustrate just the surface incidents leading up to the 1917 Russian Revolution.

When "Mother" kicked into high gear with action, Pudovkin implemented super-quick edits to portray the shown events as chaotic. He didn't waste even a nano-second of empty framing to lengthen these scenes. "Whenever we noticed some dead place at the edge of a shot," Pudovkin related, "we would eliminate it, to have nothing useless or superfluous in the composition." Fellow Soviet filmmaker Sergei Eisenstein noticed Pudovkin's focus on the individual, how the characters changed within the fluid social revolution. "He puts real living men in the center of his work," described Eisenstein. "His films act directly through their emotional power."

The Mother, Pelageya Vlasova (Vera Baranovskaya), is Pudovkin's focal point; she loses her abusive husband to a revolutionist who accidentally shoots him. Shortly afterwards, she turns in her son, who is storing arms for the rebels, thinking he'll rethink his position and eventually side with the Tsarist government. Her plan doesn't work-he receives a harsh life sentence of hard labor. He escapes from prison by crossing an ice-flow river, reminiscent of D. W. Griffith's 1920 "Way Down East's" exciting conclusion. While all this action unfolds on the screen, Pudovkin uses his lessons from Griffith to cross-cut his montage sequences with shots of a calming nature, ice flows, and the concluding calvary charge, among other scenes.

Camara positioning was equally important to Pudovkin as his editing. To show the transformation of the Mother, he initially positions the camera high looking downwards to show an oppressed, humiliated wife in the face of her aggressive husband psychologically dragging her down. Towards the finale, the director does the opposite with the camera as she gains awareness to her self and Russia's political ramifications: he positions it low looking up towards the confident and inspired Mother who faces an onrushing horde of Tsarist calvary.

During the filming, actor Nikolai Batalove, as The Mother's son, refused to walk on the ice flows in the dramatic escape sequence. Mikhail Dollar, Pudovkin's assistant director, took the clothes from the actor and proceeded to step confidently on the flows, capturing the heart-pounding athletic feat on film. Dollar was also instrumental in creating the factory crowd frantic scene where the mounted police were overrunning the strikers. At first the 700 extras looked lethargic as they ran down the street. Dollar and Pudovkin decided to turn around the two horses they were riding and gallop just out of frame against the throng of extras. The members of the crowd didn't hesitate to run for their lives, turning into a stampede of people, just as Pudovkin had scripted.

"The Mother" is the first in what later critics labeled Pudovkin's revolutionary trilogy. In the next two years the director proceeded to produce two additional classics along the lines of this classic film debut.

The top three directors of Soviet Era during the Silent Era were Sergei Eisenstein, Alexander Dovzhenko, and Vesevolod Pudovkin. While Eisenstein is still readily available in quality home video offerings, the same could not be said of the other two. All three were previously issued on DVD by Kino back around the turn of the century and this Flicker Alley edition is an upgraded version of those releases. While MOTHER and THE END OF SAINT PETERSBURG are virtually the same, STORM OVER ASIA has improved sonic and picture quality thanks to a digital restoration.

MOTHER (1926) was Pudovkin's first feature film and it follows the fate of a poor Russian woman who is married to a drunken, brutal husband and whose son hopes for a better life. The setting is 1905, the date of the aborted first Russian uprising and it pits father against son. Both work at the same factory but take different sides in the conflict. Finally the mother becomes involved in the conflict with tragic results. Pudovkin's use of faces and especially his montage editing (inspired by D. W. Griffith's INTOLERANCE) create a powerful drama with the proper pro-Soviet viewpoint.

THE END OF SAINT PETERSBURG (1927), which was made to celebrate the 10th anniversary of the Bolshevik Revolution, is more abstract in style following the example of Sergei Eisenstein in his films STRIKE and BATTLESHIP POTEMKIN. It focuses on two Russian peasants who go to St Petersburg in search of work only to wind up fighting in World War I before getting caught up in the Revolution. While the imagery, especially those of trench warfare is astonishing, the story is very persuasive Soviet propaganda. The trademark use of montage editing is really utilized in the film's finale.

The crown jewel of the set as far as I am concerned is STORM OVER ASIA (1928) which should have kept its original title of THE HEIR TO GENGHIS KHAN. This story of a young Mongolian nomad who is believed to be descended from Genghis Khan is far less a polemic than a character study not only of him but of the Mongolian people. The film records an authentic Buddhist ceremony that still has the power to astound and enthrall over 90 years later. We follow the main character from nomad to Soviet fighter to a potential pawn of the British Empire as a puppet king. The so-called "storm" doesn't occur until the very end. Bonuses include a 16 page booklet, audio commentary, features on montage editing, and Pudovkin's short comedy CHESS FEVER...For more reviews visit The Capsule Critic.

This is one of the classic Soviet silent films. The story is about a family torn apart by a worker's strike. At first, the mother wants to protect her family from the troublemakers, but eventually she realizes that her son is right and the workers should strike. The plot is similar to other Soviet films of the era but does focus more on the individual than some of Eisenstein's films. The mother and son do represent the collective but they are also strong characters on their own.

The best part of the film is the editing. It is always sharp and quick. When there is action, the edits are fast and give the viewer a sense of chaos. The Soviets were masters of montage and this film is a prime example. The acting is also better than in most silent films. It is clear that the actors come from the serious stage and not Vaudeville. The cinematography is somewhat average, though, and the film feels a little flat at times. It is not perfect, but it is worth seeing for all and essential viewing for those interested in Russian film or montage.

Set in Russia during the harsh winter of 1905. A mother finds herself caught in emotional conflict between her husband and son when they find themselves on opposite sides of a worker's strike. The son is a supporter of the workers but the father has been blackmailed into supporting the bosses and blacklegs. Despite the grief which follows the mother gradually comes to support the strikers and eventually is prepared to risk everything in standing up to police and Cossak troops in a demonstration endangering both herself and her precious son.