[go: up one dir, main page]

    Calendrier de sortiesLes 250 meilleurs filmsLes films les plus populairesRechercher des films par genreMeilleur box officeHoraires et billetsActualités du cinémaPleins feux sur le cinéma indien
    Ce qui est diffusé à la télévision et en streamingLes 250 meilleures sériesÉmissions de télévision les plus populairesParcourir les séries TV par genreActualités télévisées
    Que regarderLes dernières bandes-annoncesProgrammes IMDb OriginalChoix d’IMDbCoup de projecteur sur IMDbGuide de divertissement pour la famillePodcasts IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthSTARmeter AwardsAwards CentralFestivalsTous les événements
    Né aujourd'huiLes célébrités les plus populairesActualités des célébrités
    Centre d'aideZone des contributeursSondages
Pour les professionnels de l'industrie
  • Langue
  • Entièrement prise en charge
  • English (United States)
    Partiellement prise en charge
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Liste de favoris
Se connecter
  • Entièrement prise en charge
  • English (United States)
    Partiellement prise en charge
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Utiliser l'appli
  • Distribution et équipe technique
  • Avis des utilisateurs
  • Anecdotes
IMDbPro

La fin de Saint-Pétersbourg

Titre original : Konets Sankt-Peterburga
  • 1927
  • Not Rated
  • 1h 25min
NOTE IMDb
7,3/10
1,9 k
MA NOTE
Izrail Bograd in La fin de Saint-Pétersbourg (1927)
Drama

Un paysan vient à Saint-Pétersbourg pour trouver du travail. Il participe involontairement à l'arrestation d'un vieil ami devenu leader syndical. Le chômeur est arrêté et envoyé au combat pe... Tout lireUn paysan vient à Saint-Pétersbourg pour trouver du travail. Il participe involontairement à l'arrestation d'un vieil ami devenu leader syndical. Le chômeur est arrêté et envoyé au combat pendant la Première Guerre mondiale.Un paysan vient à Saint-Pétersbourg pour trouver du travail. Il participe involontairement à l'arrestation d'un vieil ami devenu leader syndical. Le chômeur est arrêté et envoyé au combat pendant la Première Guerre mondiale.

  • Réalisation
    • Vsevolod Pudovkin
    • Mikhail Doller
  • Scénario
    • Nathan Zarkhi
  • Casting principal
    • Aleksandr Chistyakov
    • Vera Baranovskaya
    • Ivan Chuvelyov
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,3/10
    1,9 k
    MA NOTE
    • Réalisation
      • Vsevolod Pudovkin
      • Mikhail Doller
    • Scénario
      • Nathan Zarkhi
    • Casting principal
      • Aleksandr Chistyakov
      • Vera Baranovskaya
      • Ivan Chuvelyov
    • 18avis d'utilisateurs
    • 15avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
  • Photos13

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche

    Rôles principaux16

    Modifier
    Aleksandr Chistyakov
    Aleksandr Chistyakov
    • A worker
    Vera Baranovskaya
    Vera Baranovskaya
    • His wife
    Ivan Chuvelyov
    Ivan Chuvelyov
    • Peasant boy
    Vladimir Obolensky
    • Lebedev
    • (as V. Obolensky)
    Sergey Komarov
    Sergey Komarov
    • His employer
    Viktor Tsoppi
    • Patriot
    Aleksei Davor
    Vladimir Fogel
    Vladimir Fogel
    • German Officer
    Aleksandr Gromov
    • Revolutionary
    • (as A. Gromov)
    Nikolay Khmelyov
    Nikolay Khmelyov
    Vsevolod Pudovkin
    Vsevolod Pudovkin
    • German Officer
    Max Tereshkovich
    Mark Tsibulsky
      Anna Zemtsova
      Serafima Birman
      Serafima Birman
      • Lady with a fan
      • (non crédité)
      Vergiliy Renin
      • Officer-Agitator
      • (non crédité)
      • Réalisation
        • Vsevolod Pudovkin
        • Mikhail Doller
      • Scénario
        • Nathan Zarkhi
      • Toute la distribution et toute l’équipe technique
      • Production, box office et plus encore chez IMDbPro

      Avis des utilisateurs18

      7,31.9K
      1
      2
      3
      4
      5
      6
      7
      8
      9
      10

      Avis à la une

      9Laitue_Gonflable

      Cinema in its finest form

      This silent 1927 masterpiece is truly brilliant. To me it embodies everything that cinema is meant to be; it's visual art in motion, literature with pictures, history with emotion; all those and much more. It really is at the peak of film-making.

      I say that, but that is not to say it is a perfect film. Just that the intention in creating this bleak and powerful look at poverty in early 20th-century Russia is absolutely spot-on: It wants to tell a tale, create an image, and to breathe life into history. The intention is not simply to entertain like so many awful films of the past ten years, which is a good thing, since "The End of St. Petersberg" is great without actually being entertaining.

      There are some very powerful scenes and some frankly unforgettable visual sequences - the scenes of the first world war for example, or the beginning of the workers' strike. Take it from me, Pudovkin's direction is absolutely masterful and I think it's sad that seemingly so few people have discovered him. But with all that said, by today's standards this doesn't quite have the staying power of Chaplin or Keaton.

      It's quite wonderful to behold, but it can really only captivate the interest of people who are interested in details of history, or who know little of the events leading up to the Russian revolution. Unfortunately for me I'm neither very interested nor entirely ignorant and so while I'm very glad to have witnessed this grand-scale piece of master craftsmanship it couldn't completely peak my interest.

      That's unimportant though in the great scheme of things, and I don't mean to say that I don't thoroughly recommend it to anyone who enjoys film or art. ****1/2 / *****
      10JohnSeal

      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.
      6samanthamarciafarmer

      Epic, too long but artfully done

      Early on in The End of St. Petersburg, Pudovkin's reputation as a montage director is evidenced. A lake shore and rising sun is paired with a view of a windmill, linking together to form a more complete view of the morning. Montages show up later, most notably a scene in which an official stands up, the camera cuts to the chair falling and breaking, and then to an attendant's shocked face. These are instances wherein Pudovkin's linkage method is clear, as the images relate and build a fuller scene. However, there is a scene one might consider more in the vein of Eisenstein: footage of soldiers rushing out of trenches in WWI is interspersed with shots of businessmen viewed from above running up steps of buildings. They are surely different, and they juxtapose sharply. Perhaps Pudovkin aimed to show the differences of those two scenes, or maybe to show that they are similar as well. Shots of a chalkboard in between these two parallel worlds (it is unsure if it belongs in that of the businessmen, but one tends to assume it does) suggest that soldiers' deaths and workers' labor are but numbers. These scenes could come off as heavy handed, but they are nuanced and the film is an intricate piece of plot and tasteful treatment of history. The depiction of WWI doesn't hold anything back, with shots of bodies floating in trenches and men being gunned down in mass. The narrative of the villager is engrossing; it doesn't overshadow the history itself and yet the film would feel lacking without it; Ivan Chuvelev's piercing stare is taken full advantage of to provide a haunting and unsettling sensation. Pudovkin's The End of St. Petersburg is a cinematic epic, but not in the same vein as Battleship Potemkin; it is a lighter, more detail-oriented fare.
      chaos-rampant

      The singing, collective eye

      Pudovkin, it is said, would visit Eisenstein late at night to discuss theories of montage. They were both key figures of the movement, but polar opposites; so one can imagine how heatedly - how excitedly, at the prospect of discovery - the ideas must have been debated back and forth, and is montage the means of collision between images that scream or the scaffold that builds into song?

      But whereas Eisenstein was grounded into Freud, Joyce, Banshun and Japanese poetry, Pudovkin - as a British journalist puts it - argued theory like a schoolteacher. So, it makes some sense that he hasn't endured in critical thought like his more famous counterpart, or like Vertov and Dovzhenko. But having read some of Pudovkin's writings, he was indeed one of the great engineers of cinema, at the time when cinema was truly engineered; his theory of human perception as a series of edits, thus how the objective world is arranged movie-like into the mind into a narrative, has far-reaching imports. It implies a way out of the editing mind, and back into the eye.

      It's something that I have been looking for in my meditation - how to extinguish these lapses, edits, of mind narrative so that only the silence behind the forms echoes. This is a literal thing btw, I'm not talking about a fancy metaphor. In meditation, you become tangibly aware of intruding thoughts as narratives, lapses during which the surrounding reality is dimmed into a haze. Back into Pudovkin though.

      But with the advent of sound, he petered out; the last significant experiment we find is in his first talkie, Deserter, and it is about subjective sound. Here though, he still mattered. The two friends and theoretical rivals were commissioned by the Soviet state to make films that commemorated the ten years since the Revolution. Eisenstein turned out a film on the grand scale, Pudovkin on the other hand something more intricate.

      Oh, eventually there is battle and revolutionary spirit rippling through a society of oppressed, exploited proles. Flags are waved from balconies, the streets festively rained with paper as the Reds turn the tide against both Germans and White Russians. By the end, the enemies of the people are shown to have been really few, a handful of pathetic officers scattered in a field. St. Petersburg turns eventually, joyously for the film, into the City of Lenin.

      But there is stuff that matters before we get into the simple paean, all pertaining to the mechanisms that control the eye.

      I don't know what you will be looking to get out of these films, but to me they matter because these people, erudite engineers of film, were hard at work devising ways by which to unfetter the eye from narrative. Oh, the perception they enabled was the farthest thing from true, but we can discard the politics and focus on the actual engineering; how to make film in a way that seeing and what is seen become one, unmediated by any thought between them?

      Look, for example, how Pudovkin edits the scene with the young man at the police headquarters, arguing the release of a man from the same village as he; individually the images may not make perfect sense, the intertitle seems to be a disembodied voice that belongs to no one in particular, but it precisely this scaffold rigged for the eye that makes it resonate. It is only upon seeing, and seeing only, that it translates.

      Painterly beauty elsewhere, fields of hay rolling in the distance, the shots of windmills and overcast skies that predate later poetics of Soviet cinema. Or, once in the city, the stark desolation in empty cityscapes that could only be so purely expressed by a film tradition, rooted in Marxist politics, that rejoiced at the sight of masses and crowds.

      It is fine, fine stuff. As with other Soviet films of the era, I recommend that you see as 'films', not as 'agitprop' from where we, enlightened viewers of the West, are called to salvage a few cinematic notions of historic importance. Oh yes, the imports of good and evil are simple-minded, but were they any more intricate with the expressionists in Germany or contemporary Hollywood?
      10tbyrne4

      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

      Vous aimerez aussi

      La Mère
      7,4
      La Mère
      Tempête sur l'Asie
      7,0
      Tempête sur l'Asie
      Arsenal
      7,2
      Arsenal
      La nouvelle Babylone
      7,3
      La nouvelle Babylone
      La terre
      7,2
      La terre
      Ça t'la coupe!
      7,7
      Ça t'la coupe!
      La ligne générale
      7,2
      La ligne générale
      La fièvre des échecs
      7,1
      La fièvre des échecs
      Les hommes le dimanche
      7,3
      Les hommes le dimanche
      La grande parade
      7,9
      La grande parade
      Asphalte
      7,4
      Asphalte
      Les nuits de Chicago
      7,5
      Les nuits de Chicago

      Histoire

      Modifier

      Le saviez-vous

      Modifier
      • Anecdotes
        Vsevolod Pudovkin: The German officer.
      • Connexions
        Edited into Ten Days That Shook the World (1967)

      Meilleurs choix

      Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
      Se connecter

      Détails

      Modifier
      • Date de sortie
        • 13 décembre 1927 (Union soviétique)
      • Pays d’origine
        • Union soviétique
      • Langue
        • Aucun
      • Aussi connu sous le nom de
        • The End of St. Petersburg
      • Société de production
        • Mezhrabpom-Rus
      • Voir plus de crédits d'entreprise sur IMDbPro

      Spécifications techniques

      Modifier
      • Durée
        1 heure 25 minutes
      • Couleur
        • Black and White
      • Mixage
        • Silent
      • Rapport de forme
        • 1.33 : 1

      Contribuer à cette page

      Suggérer une modification ou ajouter du contenu manquant
      Izrail Bograd in La fin de Saint-Pétersbourg (1927)
      Lacune principale
      By what name was La fin de Saint-Pétersbourg (1927) officially released in Canada in English?
      Répondre
      • Voir plus de lacunes
      • En savoir plus sur la contribution
      Modifier la page

      Découvrir

      Récemment consultés

      Activez les cookies du navigateur pour utiliser cette fonctionnalité. En savoir plus
      Obtenir l'application IMDb
      Identifiez-vous pour accéder à davantage de ressourcesIdentifiez-vous pour accéder à davantage de ressources
      Suivez IMDb sur les réseaux sociaux
      Obtenir l'application IMDb
      Pour Android et iOS
      Obtenir l'application IMDb
      • Aide
      • Index du site
      • IMDbPro
      • Box Office Mojo
      • Licence de données IMDb
      • Salle de presse
      • Annonces
      • Emplois
      • Conditions d'utilisation
      • Politique de confidentialité
      • Your Ads Privacy Choices
      IMDb, une société Amazon

      © 1990-2025 by IMDb.com, Inc.