#Pudovkin

[f--e-u-e-r-t-r-u-n-k-e--n]

The Birth of Soviet Cinema by Moskovskai͡a kinostudii͡a "Mosfilʹm." (1972)

https://archive.org/details/thebirthofsovietcinema

[detectiveangel]

i recently discovered this photo of soviet film directors in 1940 and i'm so obsessed now...everyone's looking so lovingly at vsevolod pudovkin, i'd kill to know what he was saying to them... and then you've got mikhail romm and another fellow (not sure who he is) looking instead at eduard tisse's ass?? and tisse is straight-up mugging at the camera, the scoundrel. i love them all, but of course i love sergei eisenstein the most... look at him...

and 2 years later, eisenstein had pudovkin play the holy fool in ivan the terrible looking like this:

dudes rock

[va-queer-o]

Exercise yard, 1872 — Мать, 1926

[mtonino]

Art Influences Film - Side by Side

Prisoners Exercising - Vincent Van Gogh - 1890

Mother (1926) Vsevolod Pudovkin

A Clockwork Orange (1971) Stanley Kubrick

[gifmovie]

[siilvan]

random post, but shoutout to 12 y/o me who got MW3 from her aunt one day and played it, expecting just to shoot stuff and not get into it… she didn’t know she had daddy issues even after clinging to every commanding officer in the game (sandman and pudovkin <3), and i didn’t know until years later that i clung to this stupid ass trio.

my boys. my idiots. my loyalist commanders. my war criminals. 2/3 are dead. 2/3 were ugly. yuri had no less than four missiles shot at his feet. nikolai’s face changed every single game. kamarov lived for drama and nothing else.

i loved them for no reason other than “teehee older man that i can substitute for my lack of father/older male figure.” yuri was silent 80% of the game. nikolai was perfect. kamarov appeared just to die. i didn’t even play MW2 or watch gameplay of MW1 until 2022, but i clung to this trio nonetheless 😭 soap, price, and team metal, as well (sandman my first love), but these three… special place in my heart.

(MWIII pics used BTC)

AND WE OFFICIALLY HAVE ALL THREE OF THEM IN THE REBOOT LETS GOOOOOOO

*sobbing on floor*

listen. listen. this doesn’t matter to anyone but me. i know i chose the worst group to attach my daddy issues to. in my defense, i was 12 and didn’t even know i had ‘em. honestly, “daddy issues” makes it sound too cute, i was a kid when i started getting comfort from these guys… call it father problems or paternal predicaments 😭

i’m just. look. i know how i look to an outside audience. i know how my blog looks to someone who doesn’t know me well; but, i’m not just fawning over every russian character. these three specifically, *tapping glass that they’re encased in*, are special to me. if i attach to them and pretend like they’d love me (romantically or platonically), then i can feel the love that i’ve never gotten from a father or an older male figure.

this is just a nonsense ramble because i’m so sleep-deprived, but you don’t understand. my boys are back and better than ever. nikolai eats everyone up whenever he comes on-screen. yuri actually gets to have a full name and cutscenes outside of “dust to dust”. kamarov isn’t ugly (gene farber 🙏) and they’re all just AKEHDKRJWJDKFJE.

i love them. i love the comfort they give me. i know it’s odd for me to cling to this trio of all people, but i have. my boys. my dumbasses. the reboot did them right. now, i just need them all on-screen at the same time.

i want them to have a podcast. i’d listen to it.

[rrrauschen]

four late stalinist films, four red tinted cuts between scenes; a cinema industry drenched in blood

(1) Boris Barnet, {1950} Щедрое лето (Bountiful Summer) (2) Vladimir Petrov, {1951} Спортивная честь (Sporting Honour) (3) Nikolay Lebedev, {1952} Навстречу жизни (The Encounter of a Lifetime) (4) Vsevolod Pudovkin, {1953} Возвращение Василия Бортникова (The Return of Vasili Bortnikov)

[dare-g]

The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924)

[davidhudson]

Mother (1926), directed by Vsevolod Pudovkin (February 16, 1893 – June 30, 1953).

[byneddiedingo]

Valéry Inkijinoff in Storm Over Asia (Vsevolod Pudovkin, 1928)

Cast: Valéry Inkijinoff, I. Didintseff, Aleksandr Chistyakov, Victor Tsoppi, Fyodor Ivanov, V. Pro, Boris Barnet, Karl Gurniak, I. Inkizhinov, V. Belinskaya, Anel Sudakevich. Screenplay: Osip Brik, Ivan Novokshenov. Cinematography: Anatoli Golovnya. Art direction: M. Aronson, Sergei Kozlovsky.

The great silent Russian propaganda films depended heavily on two things the nascent Soviet Union had in abundance: faces and landscapes. This reliance on closeups and sweeping views of fields and plains sometimes resulted in a loss of narrative coherence, but put the emphasis on the people and resources that the Bolsheviks needed to exercise control over. Storm Over Asia is no exception, beginning with the windswept land and Asiatic faces of the Mongol peoples of eastern Russia, which at the time depicted in the film was still a vast battleground for the Bolsheviks and European forces. After establishing the location, the film focuses on Bair (Valéry Inkijinoff), a young hunter whose father sends him off to the bazaar to sell a silver fox pelt. In the vividly filmed bazaar, Bair is cheated by an unscrupulous European fur trader (Viktor Tsoppi), who might as well be wearing a label: bourgeois capitalist. Beaten by the henchmen for the trader, Bair escapes and joins a group of Soviet partisans fighting the occupiers. The occupation forces seem to be British, who were never a significant presence in this part of the Soviet Union, but the film is vague about such details. They manage to capture Bair, who is sent out with a soldier to be shot, but when they examine Bair's belongings they discover an ancient document indicating that he's a direct descendant of Genghis Khan. (The original title of the film, in Russian, was The Heir to Genghis Khan.) They find the wounded Bair, restore him to health, and set him up as the puppet ruler of a Mongolian state. In the end, Bair turns against the imperialists and the film concludes with a literal storm sweeping them away. It's a film full of great set-pieces, including a montage mockng the imperialists and their wives as they put on their finery and then are driven on a muddy road to meet the new Grand Lama. After an elaborate ceremony (actually filmed at a Tibetan Buddhist celebration) the lama turns out to be a small boy, not at all impressed with his visitors.   

[therealslimsanji]

Chapters: 1/1 Fandom: Віталій "Витас" Владасовіч Грачов | Vitaliy "Vitas" Vladasovich Grachov (Musician) Rating: Explicit Warnings: Creator Chose Not To Use Archive Warnings Relationships: Vitaliy "Vitas" Vladasovich Grachov/Sergey Pudovkin Characters: Vitaliy "Vitas" Vladasovich Grachov, Sergey Pudovkin Additional Tags: First Time, Love Confessions, Internalized Homophobia, Oral Sex, Anal Sex, Anal Fingering, Unhappy Ending, I'm Sorry Summary:

Sergey Pudovkin reflects on the heated events of last night after a cab ride earlier that day reveals some very mutual feelings.

But Sergey knows the unfortunate truth of it all.

[frnndlcs]

Potomok Chingis-Khana, Vsevolod Pudovkin, 1928

[pacingmusings]

Seen in 2022:

Chess Fever (Vsevolod Pudovkin & Nikolai Shpikovsky), 1925

[silentlondon]

Slapstick 2025: for the love of silent comedy

It’s supposed to be big mystery: what do women want from a romantic partner? But there is no mystery at all. GSOH every time. That’s good sense of humour, of course. So if you’re in anyway romantically inclined, you’ll already be asking yourself: what is the FUNNIEST way I can celebrate Valentine’s Day next year. Not to brag, but I do have the solution. Bristol’s Slapstick Festival runs 12-16…

[rwpohl]

hybride räume - filmwelten im hollywood-kino der jahrtausendwende, oliver schmidt, schüren verlag marburg 2014 (excerpt)

[gifmovie]