Mark Donskoy

A bold study on the dangers of prostitution in the Soviet Union in the 1920s. It's sort of dramatic fiction that tells the story of Lyuba, which after irremediable events, loses his honor, being obliged to exercise the oldest profession in the world to survive. She hopes for better days and a new opportunity. The film also shows us the story of two other women who also need hope.

The film covers the period from 1900 to 1917. Historical events—the Russo-Japanese War, January 9, and others—are shown through the eyes of a mother who begins to realize that her children have many like-minded followers, and thanks to this, she comes to believe in the feasibility of the ideals for which her eldest son sacrificed himself. Only the awareness that his cause is not hopeless, that it is achievable and close to victory, gives her the courage to endure separation from her loved ones and wandering.

A life-long story of a romantic school teacher who left imperial St. Petersburg for teaching country children. Driven by noble intentions to enlighten people and examples by 1880s revolutionary "People's Will" member teachers, a young woman spent her life in a village and evidenced the changes a Russian village has undergone from pre-revolutionary tsarist times to late 1940s.

The German conquerors are above nothing, not even the slaughter of small children, to break the spirit of their Soviet captives. Suffering more than most is Olga, a Soviet partisan who returns to the village to bear her child, only to endure the cruelest of arbitrary tortures at the hands of the Nazis. Eventually, the villagers rise up against their oppressors-but unexpectedly do not wipe them out, choosing instead to force the surviving Nazis to stand trial for their atrocities in a postwar "people's court." (It is also implied that those who collaborated with the Germans will be dealt with in the same evenhanded fashion).

Second entry in Ukrainian director Mark Donskoy's "Maxim Gorki" trilogy. Picking up where 1938's My Childhood left off, the story covers the years in Gorki's life when the future writer (Alexei Lyarsky) was on his own, looking for a purpose and place in life.

Young Maxim grows up under the czarist regime with his grandparents as guardians. Continually demeaned by his martinet grandfather, Maxim is drawn to his warm-hearted grandmother, who instills in him the willingness to pursue his writing muse.

Young Maxim grows up under the czarist regime with his grandparents as guardians. Continually demeaned by his martinet grandfather, Maxim is drawn to his warm-hearted grandmother, who instills in him the willingness to pursue his writing muse.

My Universities (Moi universiteti) is the last installment of Russian director Mark Donskoy's "Maxim Gorki" trilogy. Having endured a painful youth in My Childhood and a torturous sojourn as a serf in My Apprenticeship, future writer Gorki reaches maturity with an insatiable desire for personal and artistic freedom. The "university" of the title is actual the school of Hard Knocks, as Gorky goes to work in the shipyards and commisserates with the hard-drinking, philosophical dockworkers.

Foma Gordeyev, the son of a wealthy Volga merchant, doesn't want to continue his father's work. The mind is sickened by the dirt and injustice of life around him. Foma is seeking solace in a drunken rampage and wild antics. After many years of desolation, he is half-ill at the opening of a night shelter built with his father’s money.

Timid old woman Pelageya Nilovna observes the revolutionary activities of her son Pavel Vlasov and gradually comes to realize that his cause is a great and noble one. She involves herself in the movement and finds joy and great courage in her new life as a revolutionary. Based on Gorky's novel, filmed in the silent era by Pudovkin.

An adaptation of a story by a Ukrainian writer Mykhailo Kotsiubynsky that anticipates the Ukrainian "poetic cinema" of the '60s in its focus on star-crossed lovers and its celebration of nature. Set in the 1830s, the film follows two lovers on the run - a girl forced into marriage and her boyfriend, a serf who's being sought by the authorities - as they try to make their way to freedom.

Mark Donskoy went to the wilds of Siberia to film this Soviet movie about a community that resists the temptations of a wicked American capitalist who wants to exploit their lands.

Timid old woman Pelageya Nilovna observes the revolutionary activities of her son Pavel Vlasov and gradually comes to realize that his cause is a great and noble one. She involves herself in the movement and finds joy and great courage in her new life as a revolutionary. Based on Gorky's novel, filmed in the silent era by Pudovkin.

A coming-of-age story about a flute-playing boy (Yyvan Kyrla) from the Mari people, a national minority who lived near the Volga, and how he is educated by the Soviet state.

Two country boys move to Moscow. One becomes a construction worker who dreams of being an inventor, the other becomes a decadent poet.

Russian filmmaker Mark Donskoi, of "The Gorky Trilogy" fame, was responsible for the postwar Soviet drama The Taras Family (originally Nepokorenniye, and also released as Unvanquished and Unconquered). A semi-sequel to Donskoi's Raduga (1944), the story is set in Nazi-occupied Kiev. The drama focusses on the travails of a typical Soviet family and on the efforts by the Germans to force the reopening of a local munitions factory. The film is at its most grimly effective in a long sequence wherein the Nazis conduct a search for Jewish escapees, culminating in a horribly graphic re-creation of the slaughter of the Jews at Babi Yar. While Donskoi was critically lambasted for his cinematic "sloppyiness" during this sequence (hand-held camera, rapid cuts etc.), it can now be seen that he was attempting a realistic, documentarylike interpretation of this infamous Nazi atrocity.

This 1928 film features stylized cinematography and actors from the Moscow Art Theater in a fiction story based on the life of Jewish Labor Bund member Hirsch Lekert who attempted to assassinate the Vilna governor in 1902 to avenge the flogging of workers who participated in a May Day rally.

Family drama centering on the childhood of Vladimir Lenin, then Vladimir Ilich Ulyanov, in the city of Simbirsk, and his relationship with his mother.

A sad story about a little Japanese girl fighting heavy decease in a Russian summer camp on the Black Sea coast.

Set in the high North, this tale of a Russian teacher who begins to educate the children of the Chukchi tribe reinforces the director's firm belief in the power of education to overcome distrust and establish a shared civilizational foundation for all human beings.

The film tells about the childhood and youth of the wife, friend and military ally of the founder of the country of the Soviets Nadezhda Konstantinovna Krupskaya. The main attention in the film is paid to the participation of a young revolutionary in the organization of the struggle of the workers of St. Petersburg for their rights, against the autocracy.

Russian filmmaker Mark Donskoi, of "The Gorky Trilogy" fame, was responsible for the postwar Soviet drama The Taras Family (originally Nepokorenniye, and also released as Unvanquished and Unconquered). A semi-sequel to Donskoi's Raduga (1944), the story is set in Nazi-occupied Kiev. The drama focusses on the travails of a typical Soviet family and on the efforts by the Germans to force the reopening of a local munitions factory. The film is at its most grimly effective in a long sequence wherein the Nazis conduct a search for Jewish escapees, culminating in a horribly graphic re-creation of the slaughter of the Jews at Babi Yar. While Donskoi was critically lambasted for his cinematic "sloppyiness" during this sequence (hand-held camera, rapid cuts etc.), it can now be seen that he was attempting a realistic, documentarylike interpretation of this infamous Nazi atrocity.

The drunkard and his wife become orderlies in a cholera barracks during the outbreak.

The drunkard and his wife become orderlies in a cholera barracks during the outbreak.

Foma Gordeyev, the son of a wealthy Volga merchant, doesn't want to continue his father's work. The mind is sickened by the dirt and injustice of life around him. Foma is seeking solace in a drunken rampage and wild antics. After many years of desolation, he is half-ill at the opening of a night shelter built with his father’s money.

This literary adaptation was one of only two films made during World War II on the subject of the Civil War following the Bolshevik Revolution, as attention by filmmakers and viewers shifted away from past history and toward the current conflict.

This literary adaptation was one of only two films made during World War II on the subject of the Civil War following the Bolshevik Revolution, as attention by filmmakers and viewers shifted away from past history and toward the current conflict.

Second entry in Ukrainian director Mark Donskoy's "Maxim Gorki" trilogy. Picking up where 1938's My Childhood left off, the story covers the years in Gorki's life when the future writer (Alexei Lyarsky) was on his own, looking for a purpose and place in life.

My Universities (Moi universiteti) is the last installment of Russian director Mark Donskoy's "Maxim Gorki" trilogy. Having endured a painful youth in My Childhood and a torturous sojourn as a serf in My Apprenticeship, future writer Gorki reaches maturity with an insatiable desire for personal and artistic freedom. The "university" of the title is actual the school of Hard Knocks, as Gorky goes to work in the shipyards and commisserates with the hard-drinking, philosophical dockworkers.

Two country boys move to Moscow. One becomes a construction worker who dreams of being an inventor, the other becomes a decadent poet.

Lost movie.

Fighting Film Collection No. 9 (Boyevoy kinosbornik No. 9) is the ninth issue of Boyevoy kinosbornik series, released in May 1942. It contains three segments: "Kvartal No.14/Block 14" (Savchenko), "Siniye skaly/The Blue Cliff" (or "Blue Crags") (Braun) and "Mayak/The Signal" (or "Beacon") (Donskoy).