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It was made at The Commissar Film Studio. Maxim Gorky considered this brief story one of the best about the Russian Civil The Commissar and encouraged the young writer to dedicate himself to literature. The film was shot in the political climate of the Khrushchev Thawfollowing the death of Stalin. The period The Commissar characterized by a loosening of political oppression and artistic censorship. From the outset of the production, Goskino censors forced the film director Aleksandr Askoldov to make major changes; was the 50th anniversary of the October Revolution and the events were to be presented The Commissar the Communist Party -mandated style of heroic realism. After making the film, Askoldov lost his job, was expelled from the Communist Party, charged with social parasitismexiled from Moscowand banned from working on feature films for life. He was told that the single copy of the film had been destroyed. The film was shelved by the KGB for twenty years. Indue to glasnost The Commissar, the Conflict Commission of the Soviet Film-makers Union recommended the re-release of the movie, but Goskino refused to act. After a plea from Askoldov at the Moscow Film Festivalthe film was reconstructed and finally released in The film is set in Ukraineand those who know the language will spot the Ukrainisms in Bykov's lines. The film was selected as the Soviet entry for the Best Foreign Language Film The Commissar the 61st Academy Awardsbut The Commissar not accepted as a nominee. Until her child is born, she is forced to stay with the family of a The Commissar Jewish blacksmith Yefim Magazannik Rolan Bykovhis wife, mother-in-law, and six children. At first, both the Magazannik family and "Madame Vavilova", as they call her, are not enthusiastic about living under one roof, but soon they share their rationed food, make her civilian clothes, and help her with the delivery of her newborn son. Vavilova seemingly embraces motherhood, civilian life, and new friends. Meanwhile, the frontline advances closer to the town and the Jews expect a pogrom by the White Army as the Red Army retreats. Vavilova attempts to console them with a Communist dream: "One day The Commissar will work in peace and harmony", but the dream is interrupted with a vision of the fate of the Jews in the coming world war. She rushes to the front to rejoin her army regiment, leaving her newborn behind. Commissar The Commissar strong themes of feminism and motherhood in the backdrop of the Russian Civil War ofand when completed was censored by the Soviet Union due to the subject topic being deemed: "a force that opposes the very essence of human existence, a phenomenon that destroys The Commissar ties by causing alienation, despair, and uncertainty about the future. For the censors at the time, to portray the revolution as anything other than a positive change in society was a dangerous risk. Commissar was the only film ever made by the director Aleksandr Askoldov, and it nearly had him arrested by the KGB. The positivity of the feminist themes are reinforced with the witticisms of the Magazannik family, who The Commissar six children, and are more concerned with the wellbeing of their family than with the war. This is best conveyed in The Commissar scene where Yefim Magazannik the father of the family and a local blacksmith responds to an anecdote by Vavilova about the ideal of the soviet utopia where all men are equal in The Commissar with "but what about life? Vavilova leaving may also be influenced by the children's favorite game, portraying the White Army hunting Jews. Immediately prior to Vavilova deciding to leave, there is a particularly The Commissar scene where the male children chase and bind their sister, ripping her clothes as she calls out for her mother. Their father reprimands them harshly, The Commissar Vavilova appears greatly troubled by the event and may feel a responsibility to prevent this type of brutality. Vavilova is characterized as unquestionably manly, a film review done by James Lardner calling her "an inconveniently pregnant Bolshevik The Commissar a tough cookie". She is respected by her commanding officer, which is made evident when Vavilova states that her deceased lover "was a good communist" to which her boss replies "you are all good communists". However once Vavilova relieves herself of her riding breeches and Mauser handgun, and is settled into the house of the Magazanniks, she falls out of favor with her once The Commissar coworkers. Once she embraces civilian life and the The Commissar that come with it, she seemingly loses her masculine qualities as her gun is replaced with her baby, and her leather pants are traded for civilian clothes made for her by the Magazanniks. Towards the end of the film the frontline of the conflict begins to approach the town of Berdichevand the Red Army begins retreating, Vavilova is left behind with rationed food. The Magazanniks worry that with the The Commissar shift of power there would bring another pogrom committed by the White Army, and Vavilova begins once again to abandon her motherly persona to relay the communist dream that all men will work in peace and harmony. In the end of the film Vavilova flees the home of the Magazanniks to attempt to rejoin her cavalry regiment at the front lines. The Commissar complies with the film style of historic realism which acted to appeal to the masses of communist The Commissar, the protagonist acting selflessly, abandoning her child in order to The Commissar the forces attempting to save the village exemplifies this, and to a degree eclipses The Commissar feminist tone of the film in lieu of state mandated propagandist themes. Moreover, the transition from soldier-to-mother further reinforces the feminist tone of the film, as well as contributing to the thaw in Soviet dogma in the late fifties and sixties. In the journal Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths, Andsell summarizes the lesson learned by the protagonist and the message conveyed The Commissar the director simply:. Socially the film retrospectively propagates a feminine pride in the socialist ideal, as Vavilova is presented as an independent and powerful woman who initially is seemingly unfazed by the death of her lover. She is more inconvenienced by her pregnancy, and is eager to go back into the fray of the Revolution. At the time of the Revolution, a major principle of the The Commissar communist party was the freedom from discrimination based on religion and gender, and suffrage for The Commissar. From Wikipedia, the free encyclopedia. Commissar Film poster Gorky The Commissar Studio. Release date. Running time. Robert Chandler et al. Retrieved Silver Bear for Jury Grand Prix. Hidden categories: All articles with dead external links Articles with dead external links from July Articles with permanently dead external links Template The Commissar date with 1 release date Articles containing Russian-language text. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Film poster Russian Film Symposium

From " Veronica Mars The Commissar to Rebecca take a look back at the career of Armie Hammer on and off The Commissar screen. See the full gallery. Klavdia Vavilova, a Red Army cavalry commissar, is waylaid by an unexpected The Commissar. She The Commissar with a Jewish family to give birth and is softened somewhat by the experience of family life. The story and characters are a bit thin; a female leader in the The Commissar Revolutionary army in is disgraced when she is found to be pregnant, and goes to live with a Jewish family, loses her hard shell and becomes a mother. But the black and white images The Commissar truly striking and impressive, especially the fantasy sequences. They give the story a much deeper power and resonance than it would otherwise have. The Commissar impressive as a first film. Looking for some great streaming picks? Check out some The Commissar the IMDb editors' favorites movies and shows to round out your Watchlist. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Director: Aleksandr Askoldov. Available on The Commissar. Added to Watchlist. The Evolution of Armie Hammer. The 55 Best Russian and Soviet Films. Share this Rating Title: The Commissar 7. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Cast overview, first billed only: Nonna The Commissar Klavdia Vavilova Rolan Bykov Yefim Mahazannik Raisa Nedashkovskaya Maria Mahazannik The Commissar Volynskaya The The Commissar Vasiliy Shukshin The Commandant Lyubov Kats Children as Lyuba Kats Pavel Levin Children as Pavlik Levin Dmitri Kleyman Children as Dima Kleyman Marta Bratkova Children Igor Fishman Chief of Staff as L. Reutov Valeri Ryzhakov Kursant Viktor Shakhov Edit Storyline Klavdia Vavilova, a Red Army cavalry commissar, is waylaid by an unexpected pregnancy. Edit Did The Commissar Know? Trivia After making the film, Aleksandr Askoldov lost his job, was expelled from the Communist Party, charged with social parasitism, exiled from Moscow, and banned from working on feature films for life. He was told that the single copy of the film had been destroyed. Mordyukova and Bykov, major Soviet movie stars, had to plead with the authorities to spare him of even bigger charges. The film was shelved by the KGB for twenty years. Was this review helpful to you? Yes No Report this. Add the first question. Edit Details Country: Soviet Union. Language: Russian. Production Co: Kinostudiya imeni M. Runtime: min. Sound Mix: Mono. Color: Black and White. Edit page. October Streaming Picks. Back to School Picks. Clear your history. Klavdia Vavilova. Yefim Mahazannik. Maria Mahazannik. The Grandmother. The Commandant. Commissar | Definition of Commissar at

Commissar takes advantage of the dichotomy between Jewish and Soviet ideals in order to pit the private space of the family against the public space of civic duty: Klavdiia Vavilova, the commissar of a Red Army Unit, must decide between caring for her new-born child The Commissar fighting in the Civil War. While "In the Town of Berdichev" celebrates the decision to abandon one's child for the cause of the revolution, Commissar ultimately sympathizes with the private, politically disinterested The Commissar of the Jewish family. The clash of ideologies between the two groups is transcended by the birth of the child and The Commissar Vavilova's subsequent transformation The Commissar a mother. She briefly loses sight of the revolution, staying with the family as the Red Army begins to leave the town. In these moments, Vavilova not only participates as an integral part of her substitute family, but also behaves "like a Jewish mother. Commissar 's depiction of Jews focuses on one family, in which the father, Efim, advocates an "International of kindness" instead of The Commissar form of Bolshevism. Rolan Bykov, Raisa Nedashkovskaia, and Liudmila Volynskaia give The Commissar performances as Jews, whose "otherness" is reinforced by Nonna Mordiukova's portrayal of the commissar. Language and song play The Commissar major role in shaping each character's Jewishness: Volynskaia, who plays Efim's mother, speaks in Yiddish throughout the film; Bykov's almost theatrical dance and song performances unexpectedly emerge in several scenes, placing Jewish folk culture alongside more serious The Commissar of life and death in the film. Commissar 's treatment of Jewishness allows Askol'dov to explore topics other than the individual's relationship to the state. The film comments on the plight of the The Commissar under the Russians, Soviets, and later under the The Commissar in the Great Patriotic War, a topic that was rarely addressed in film. Vavilova's visions of Efim and his family marching into a concentration camp do not portray the family as Soviets, but as Jews, all wearing the Star of David. They are separate from Vavilova, who stands holding her child and can only bear witness to the scene. Aleksandr Askol'dov was never allowed to direct another film. Commissar 's legacy is strongly tied with the director's The Commissar to have the film released. The film makes extensive use of vivid flashbacks and flashforwards, all captured by violent camera movement and point of view shots. Askol'dov relies on asynchronous sound during flashback scenes to link events together, most notably during Vavilova's labor in the childbirth scene, where her cries are heard over the action of numerous intercut flashbacks. Commissar 's exploration of Jewish and Soviet identities universalizes human experience. The film seeks to focus the viewer's attention on the value of human life, rather than on the differences between two world views. Although Commissar may not take a neutral stance in this task, the film seeks to move beyond Soviet and Jewish questions: questions that censors could not ignore at the time of the film's release. He continued his studies at the Department of Soviet Literature in the Writer's Union, studying directing and screenwriting under Georgii Tovstonogov. Askol'dov submitted the script for Commissar in and completed the project in On 11 March he was relieved of his position as assistant-director, and on 15 December was expelled from the Communist Party and blacklisted from working in the film industry. Askol'dov's Party ban was lifted in He successfully protested for the The Commissar release at the Moscow International Film Festival, claiming that the film's suppression reflected the failures of glasnost. Askol'dov later The Commissar numerous awards for Commissar The Commissar, including four at the 38 th International Film Festival in West Berlin. While Grossman's story was praised, including by Maksim Gor'kii, Askol'dov's Commissar was "shelved" and stored in the Gosfil'mofond archives for twenty years. Made to honor the 50 th anniversary of the Bolshevik revolution, Commissar was finally released shortly after The Commissar 15 th Moscow International Film Festival in The film received several unpublicized screenings in the Soviet Union, but was an enormous success at international film festivals the following year. Aleksandr Askol'dov's Commissar is based on Vasilii Grossman's "In the Town of Berdichev"a story of a female commissar who gives up her baby to a Jewish family during the Polish-Soviet War in The Commissar to return to the front.