Top 100 Russian/Soviet Directors

Vasili Goncharov was born in 1861. He was a director and writer, known for Votsareniye doma Romanovykh (1913), Pyotr Velikiy (1910) and Vanka-klyuchnik (1909). He died on 23 August 1915.

Yakov Protazanov was born on 4 February 1881 in Moscow, Russian Empire [now Russia]. He was a director and writer, known for A Narrow Escape (1920), Without Dowry (1937) and Holiday of St. Jorgen (1930). He died on 9 August 1945 in Moscow, Russian SFSR, USSR [now Russia].

Vladimir Gardin was born on 18 January 1877 in Moscow, Russian Empire [now Russia]. He was an actor and director, known for War and Peace (1915), Peterburgskiye trushchobi (1915) and Landlord (1924). He was married to Tatyana Bulakh. He died on 29 May 1965 in Leningrad, RSFSR, USSR [now St. Petersburg, Russia].

Yevgeni Bauer was the most important filmmaker of the early Russian cinema, who made about eighty silent films in 5 years before the Russian Revolution of 1917.

He was born Yevgeni Frantsevich Bauer in 1865, in Moscow, Russia, into an artistic family. His father, Franz Bauer, was a renown musician who played zither, his mother was an opera singer, and his sisters eventually became stage and cinema actresses. From 1882 - 1887 he studied at Moscow School of Art, Sculpture and Architecture, graduating in 1887, as an artist. At that time Bauer worked for Moscow theatres as a stage artist as well as a set designer for popular musicals and comedies. He was also known as a newspaper satirist, a caricaturist for magazines, a journalist, and a theatrical impresario. During the 1900s he became involved in still photography and worked as an artistic photographer, having several of his pictures published in the Russian media.

In 1912, Bauer was hired by A. Drankov and Taldykin as a production designer for Tryokhsotletie tsarstvovaniya doma Romanovykh (1913), then he became a film director for their company. After making four films as director for A. Drankov, he moved on to work for Pathe's Star Film Factory in Moscow, and made another four films for them. In 1913, Bauer was invited by the leading Russian producer Aleksandr Khanzhonkov. Their fruitful collaboration would last only four years, yielding about 70 films, of which less than a half survived. Among Bauer's best works with Khanzhyonkov were such films as After Death (1915), Her Sister's Rival (1916), and Revolyutsioner (1917), starring Ivane Perestiani as an Old revolutionary.

Bauer reached his peak in the genre of social drama, such as Daydreams (1915) (aka.. Daydreams), starring Alexander Wyrubow as Sergei, an obsessed widower who falls for an actress because of her resemblance of his late wife, but soon their characters clash, leading to a tragic end. Soon Yevgeni Bauer established himself as the leading film director in Russia. He achieved great financial success earning up to 40,000 rubles annually. In 1914, Bauer started using his wife's name, Ancharov, as his artistic name, due to the political pressure from rising Russian nationalism during the First World War, so he was credited as Ancharov in some of his films. Bauer was the main force behind successful careers of major Russian silent film stars of that time, such as Ivan Mozzhukhin and Vera Kholodnaya. With Vera Kholodnaya, Bauer made thirteen films back-to-back in one year. In After Death (1915) and Umirayushchiy lebed (1917), Bauer cast none other than Vera Karalli, the legendary ballerina of the Boshoi Theatre and Sergei Diaghilev's Ballets Russes.

Bauer's style evolved from his experience as a theatre artist, actor and photographer who incorporated theatrical techniques in his films in a uniquely cinematic way. His mastery of lighting, his use of unusual camera angles and huge close-ups, his inventive and thoughtful montage and such theatrical effects as long shots through windows or his use of gauzes and curtains to alter the screen image, all these innovations were decades ahead of his time. Bauer was one of the first film directors who used the split screen. He introduced a multi-layered staging involving juxtaposed foreground and background with lush decor and thoughtful compositions alluding to classical paintings of the old masters. He developed ingenious camera movements, showing a remarkable depth of field, and achieving powerful dramatic effects. Bauer's vision and inventiveness, his integrated skills as artist, actor, photographer, and director, made him the leading filmmaker of the early Russian cinema.

Russia was a tough place for film and entertainment business, becoming increasingly unstable during the turbulent years of the First World War. Then Russian culture and film industry suffered from a cascade of troubles and destructions caused by several Russian Revolutions. However, by 1917 several major Russian film studios became established in Yalta, Crimea, near the Tsar's palaces and lush villas of other major patrons, where social environment of an upscale resort with a Mediterranean climate provided special conditions conducive for filming all year round. Bauer moved to Yalta and continued his work at the newly established Khanzhyonkov film studio, becoming also its major shareholder. There Bauer directed his last masterpiece, Za schastem (1917) (aka.. For happiness), passing the torch to his apprentice, Lev Kuleshov, who replaced the ailing Bauer in the role as painter Enrico, which Bauer wanted to play himself, but unfortunately he fell and broke his leg.

In spite of his illness, Bauer used a wheelchair, and began directing his last film, Korol Parizha (1917), which was initially designed as his largest project, but was ended as his last song. His broken leg and unexpected complications interrupted his work as he became bedridden in a Yalta hospital. The film was completed by actress Olga Rakhmanova and his colleagues at Khanzhyonkov studio. Yevgeni Bauer died of pneumonia on 22nd of July (9th of July, old style), 1917, in Yalta, Crimea, and was laid to rest in Yalta cemetery, Yalta, Crimea, Russia (now Yalta, Ukraine).

Bauer was married to actress and dancer Emma Bauer (nee Ancharova), whom he met in the 1890s during his stint as a theatre artist. In 1915 Lina Bauer starred as a flirtatious wife who hides her lover in a closet and successfully outwits her husband in Bauer's comedy The 1002nd Ruse (1915) (aka.. The 1002nd Ruse). Bauer's sister, Emma Bauer also starred in several of his films.

Vsevolod Meyerhold was born Karl Theodor Kazimir Emil Meyerhold in 1874, in Penza, Russia, into the Russian-German family of Emil Meyerhold. He converted to Orthodox Christianity on his 21st birthday and took the name of Vsevolod in memory of the Russian writer Vsevolod Garshin. After conversion Meyerhold married Olga Mikhailovna (nee Munt) and the couple had three daughters. Vsevolod Meyerhold dropped out of Moscow University Law School to become an actor and director. He studied acting under Vladimir Nemirovich-Danchenko and worked for him at the Moscow Art Theater from 1898 to 1902.

Meyerhold moved to St. Petersburg, where he became the leading advocate of Symbolism. He introduced new experimental staging methods into classical plays. After a successful gig as a chief producer at the Vera Komissarzhevskaya theatre, he was invited to the Imperial Directorship of Thatres. Meyerhold worked for Imperial Theatres in 1907-1917, staging both plays and operas. He published a book on innovations in theatrical productions, titled "On Theatre" (1913), that also included his theory of 'conditional theatre'. His acting method was different from that of Stanislavsky's. Meyerhold focused on gestures, poses, and movements in expressing the outward emotions. He argued that physical feel and looks will automatically cause emotional expression. His casting approach was applied by the Russian film directors Sergei Eisenstein, Sergey Gerasimov, Mikhail Romm. For portrayal of the Bolshevik revolutionaries they would cast athletic and attractive actors, while the bourgeois capitalists were played by obese and unattractive actors. Actors from the Meyerhold's theatre were in demand by film directors.

Meyerhold accepted the Russian revolution and joined the Bolshevik Party. But he strongly opposed to Socialist realism and was against censorship and political control of art. His famous productions included "The Dead Souls" (1926) by Nikolay Gogol and "The Bedbug" (1929) by Vladimir Mayakovsky. In 1930s Joseph Stalin started the Great Terror of brutal repressions against intellectuals and experimental artists. Vladimir Mayakovsky was found dead of a gunshot wound. Meyerhold was proclaimed "alien to the Soviet people". He was arrested and imprisoned on false accusations. His theatre was closed down in 1938 and actors became unemployed. His wife, actress Zinaida Raikh was mysteriously murdered in their Moscow apartment in 1939. His neighbors Vitali Golovin and Dmitri Golovin were exiled to Siberian prison-camps. His friends Sergei Prokofiev, Aram Khachaturyan, Anna Akhmatova and many others were banned from publications and performances.

Meyerhold was executed by the firing squad in February of 1940 (the exact date of his death is still unclear). He was rehabilitated posthumously by the Soviet government order that cleared him of all charges, 15 years after his execution.

Dmitriy Bukhovetskiy was born in 1885. He was a director and writer, known for Valencia (1926), The Swan (1925) and Men (1924). He died in 1932.

Alexandre Volkoff was born on 27 December 1885 in Moscow, Russian Empire [now Russia]. He was a director and writer, known for Amore imperiale (1941), Secrets of the Orient (1928) and Kean ou Désordre et génie (1924). He died on 22 May 1942 in Rome, Lazio, Italy.

The son of an affluent architect, Eisenstein attended the Institute of Civil Engineering in Petrograd as a young man. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In the following years, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and then director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own "montage of attractions"--a sequence of pictures whose total emotion effect is greater than the sum of its parts. He later theorized that this style of editing worked in a similar fashion to Marx's dialectic. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphor in what he called "intellectual montage" sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how film could move beyond its nineteenth-century predecessor--Victorian theatre-- to create abstract concepts with concrete images.

A pioneer of cinema in Armenia and the Caucasus, Amo Bek-Nazaryan began his career as a professional athlete. However, he later discovered film, joined the cinema as an actor in 1914, and soon became one of the major stars in the pre-Soviet Russian cinema. In 1918, he graduated from the Moscow Commercial Institute. In 1921, he became the head of the film section of Narkompros in Georgia and later a director of Goskinprom in Georgia. Like his friend and colleague, the Georgian cinema pioneer Ivane Perestiani, Bek-Nazaryan sought to incorporate avant-garde techniques popular in NEP-era Soviet films into conventional narrative frameworks.

In 1924, he returned to his native city of Yerevan where he became one of the founders of Armenkino (the predecessor to Armenfilm). He directed the first full-length Armenian feature film, Honor (1925), in collaboration with Sakhkinmretsvi in Georgia. He also directed the romantic film Natela (1926) with the glamorous Nato Vachnadze that same year and, the following year, he directed the first Kurdish film, Zare (1927). In the 1930s, he directed the first Armenian sound film, Pepo (1935), based on a play by Gabriel Sundukyan and with music by the renown Armenian composer Aram Khachaturyan. For this production, he earned the title People's Artist of the Armenian SSR.

Following World War II, he directed the film Erkrord karavan (1950) about the repatriation of Armenians living in the United States to Soviet Armenia. This production was canceled by Soviet leader Joseph Stalin, a move that personally hurt Bek-Nazaryan. Following this, he did not direct any more films until after the death of Stalin in 1953. After Bek-Nazaryan's death in 1965, Armenfilm adopted his name to their full, official title in his honor. Today, he is widely regarded as the founder of Armenian cinema.

Lev Kuleshov was a Russian director who used the editing technique known as the "Kuleshov effect." Although some of the editing innovations, such as crosscutting were used by other directors before him, Kuleshov was the first to use it in the Soviet Russia. he was driving a Ford sports car amidst hard situation in the post-Civil war USSR, and remained a controversial figure who joined the Soviet communist party and destroyed archives of rare silent movies during his experiments, thus clearing way for his own works: documentaries and feature films ranging from political cinema to timeless gems.

He was born Lev Vladimirovich Kuleshov on 1 January, 1899, in Tambov, Russia. His father, Vladimir Kuleshov, belonged to Russian landed gentry, was a patron of arts and owner of a private estate in Central Russia. His mother, Pelagea Shubina, was a teacher before she married his father. His parents understood his weaknesses (poor speaking ability and bouts of depression) and strengths (a sharp eye, persistence and determination). His forte was the ability to see what for others remained unseen. Young Kuleshov received exclusive private education at the home of his father who had a degree from Moscow Art College. After the death of his father, 15-year-old Kuleshov and his mother moved to Moscow. There he studied art and history at the prestigious Stroganov School, then continued his studies at Moscow School of Painting, Architecture and Sculpture focusing on oil painting.

In 1916 he started his film career as a set designer at the Moscow film studio of Aleksandr Khanzhonkov and occasionally acted in some of its productions. He played a young lover opposite Emma Bauer, a stunning beauty, whom he truly fell in love with even before the filming started. That was the silent film Za schastem (1917). Watching himself on the silver screen, young Kuleshov was disappointed with the comic effect of his acting conflicting with naturalism of his true feelings. He decided to focus on directing and developing the style of his own. His new friend, experienced film-maker Akhramovich-Ashmarin, introduced him to American school of film-making, which also influenced his work.

With the help from Khanzhonkov's leading cinematographer, Yevgeny Bauer, Kuleshov made his first experimental works in editing. In 1917, he made his first publication in 'Vestnik Kinematografii': in three consecutive articles Kuleshov trashed the "salon" traditions of his employer by writing about an artist's role in converting film industry into a new form of art. His directorial career began under the patronage of Bauer, with whom Kuleshov worked as art director on such films, as Nabat (1917) and Za schastem (1917), and completed the latter as director after the original director Bauer died. In 1918, Kuleshov made his directorial debut with 'Project of Engineer Prite', and the film brought him attention of film studio executives who gave the 19-year-old beginner a chance to participate in documenting the early history of the Civil War-era Russia.

Following the Russian revolution of 1917, Kuleshov joined the Bolsheviks and sided with the Red Army in the Russian Civil War of 1918-1919, which was a continuation of the First World War. He covered the war on the Eastern front with a documentary crew. After the end of the Civil War, the Communist Party solidified control of the country, thus helping Kuleshov's career. His friend, Vladimir Gardin, appointed him instructor at the Moscow Film School. There he made a career as director and teacher. In 1920, he directed a war film Na krasnom fronte (1920), a government sponsored film about the Red Army. For some time Kuleshov continued wearing the Red Army uniform, to show his loyalty to the new government.

He studied the techniques of Hollywood directors, particularly D.W. Griffith and Mack Sennett and introduced such innovations as crosscutting in editing and montage into Russian cinema. For his experiments Kuleshov was cutting old silent films from the archives of Khanzhonkov, Bauer and other private studios nationalized by the socialist govenment. Kuleshov used the archives of old silent movies for his own cutting experiments and thus most of the film archives was destroyed. Kuleshov remained quiet about this part of his career when he experimented with editing technique. He focused on putting two shots together to achieve a new meaning.

The "Kuleshov effect" is using the Pavlovian physiology to manipulate the impression made by an image and thus to spin the viewer's perception of that image. To demonstrate such manipulation, Kuleshov took a shot of popular Russian actor Ivan Mozzhukhin's expressionless face from an early silent film. He then edited the face together with three different endings: a plate of soup, a seductive woman, a dead child in a coffin. The audiences believed that Ivan Mozzhukhin acted differently looking at the food, the girl, or the coffin, showing an expression of hunger, desire, or grief respectively. Actually the face of Ivan Mozzhukhin in all three cases was one and the same shot repeated over and over again. Viewers own emotional reactions become involved in manipulation. Images spin those who are prone to be spun. Although editing and montage have already been used in art, architecture, fashion, politics, book publishing, theatrical productions and religious events (just look at placement of icons in churches, or photos in books, or pictures at exhibitions), the use of such editing in silent films was innovative and eventually led to more advanced visual effects.

Vsevolod Pudovkin, who claimed to have been the co-creator of Kuleshov's experiment, later described how the audience "raved about the acting... the heavy pensiveness of Ivan Mozzhukhin's mood over the soup, the deep sorrow with which he looked on the dead child, and the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same." Kuleshov demonstrated the effect of editing that was successfully used in montage of such films, as Battleship Potemkin (1925) and The End of St. Petersburg (1927) among other Soviet films. Kuleshov's good education, as well as his connections among Russian intellectual elite also helped his career.

At that time, Kuleshov and a group of his students, among them actress Aleksandra Khokhlova, collaborated on several movies that are now generally regarded as seminal films in Russian cinema. Among them are The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), a satire on clash of civilizations showing naive American Christian pastor who comes to Russia just to be robbed twice, but then helped by exemplary Soviet policeman. In 1926 he produced his most popular film, By the Law (1926), based on a Jack London story. The movie was successful in Russia and especially in Europe. In 1933, he directed The Great Consoler (1933), based on biography of American writer O. Henry. The film was highly praised by Osip Brik and Lilya Brik. It was an interesting advancement in Kuleshov's experimental style.

In 1936, he received his Ph.D and became professor of directing and Moscow Film School. In 1941, Kuleshov's book 'Osnovy kinorezhissury' (aka... Fundamentals of Film Direction) was published in Moscow. Kuleshov was promoted to high position within the Soviet film industry and was designated Doctor of Science for the book, which was translated in several languages and became regarded among filmmakers worldwide.

During WWII, Kuleshov made two films. One, made in collaboration with writer Arkadiy Gaydar, was Klyatva Timura (1942). To complete the film, Kuleshov with his film crew was moved on Soviet government expense from cold Moscow to warm Stalinabad, the capital of Turkmenistan. There, in 1943, together with his wife, Aleksandra Khokhlova, he directed his last movie, We from the Urals (1944), a film about young Soviet boys making heroic efforts in the Eastern Front of WWII. After that, he returned from Central Asia back to Moscow. The Soviet capital was recovering after attacks of Nazi armies. For his contribution to art, and also for his dedication to communist ideas, a prestigious position as Artistic Director of the Moscow Film Institute (VGIK) where he worked for the next 25 years. Over the course of his career, his students were hundreds of Soviet filmmakers, such as directors Vsevolod Pudovkin, Boris Barnet, Mikhail Kalatozov and many others. His most trusted and devoted friend was Sergei Eisenstein.

Kuleshov visited Paris and presented a retrospective of his films in 1962. There he enjoyed much attention from international media. His friends in the Western world included many celebrities, such as Yves Montand, Louis Aragon, Elsa Triolet among others. Kuleshov was member of the Jury at 1966 Venice Film Festival and attended other film festivals as a special guest. He made several exclusive trips outside of the Soviet Union.Kuleshov was a friend of the State security chief, KGB General V.N. Merkulov.

Kuleshov was awarded Order of Lenin, Order of Red Banner, was designated People's Artist of Russia (1969), and received other decorations and perks from the Soviet government.

Outside of his film career, Lev Kuleshov was fond of hunting, he owned a collection of exclusive hunting guns and often used them to kill game outside of Moscow and in Southern Russia. He also spent much time at Mediterranean resort near Yalta in Crimea and often made hunting trips in that area. Kuleshov was married to his student Aleksandra Khokhlova, and lived with his wife in a prestigious block on Lenin Prospect in central Moscow. There he died in 1970, and was laid to rest in Moscow's most prestigious Novodevichy Cemetery. Kuleshov's funeral took place while the Soviet Union was celebrating the centennial anniversary of the former leader Vladimir Lenin.

Viktor Tourjansky was a Russian film director who emigrated after the communist revolution of 1917, and worked in France, Germany, USA, UK, and Italy.

He was born Viacheslav Konstantinovich Turzhanski on March 4, 1891, in Kiev, Ukraine, Russian Empire (now Kiyiv, Ukraine). Studied painting and art history. In 1911 he moved to Moscow and studied acting under Konstantin Stanislavski and Vladimir Nemirovich-Danchenko. In 1912-1914, Tourjansky worked for Aleksandr Khanzhonkov. He made his film debut as an actor in 'Tragedia pereproizvodstva' (1912), and co-starred in 'Brothers' (1913) by director Pyotr Chardynin, and in several other silent films. From 1914-1919 he worked in Yalta for Joseph N. Ermolieff, owner of one of the most successful Russian silent-film companies. At that time Tourjansky directed over twenty silent films in Russia.

Tourjansky suffered terribly from the loss of his property after the Communist Revolution of 1917. However, he continued working in Yalta with Ermolieff until the end of 1919. But when the Red Army advanced in Crimea and reached Yalta, he joined the White Russians and fled the communist Russia at the end of the Civil War. Tourjansky managed to save a few rolls of his silent films, which he took aboard the Greek steamer "Pantera" in February of 1920. He left Russia together with his film partners from the Ermolieff film company, actors Ivan Mozzhukhin, Nicolas Koline and Nicolas Rimsky, actress Nathalie Lissenko, his wife Nathalie Kovanko, cinematographer Nikolai Toporkoff and producer Joseph N. Ermolieff. They emigrated together to Paris, France, and started a Russian-French film company.

In Paris, Tourjansky changed his first name to Viktor (Victor) and continued his collaboration with Russian producers Alexandre Kamenka and Joseph N. Ermolieff. During 1920s and 1930s he also collaborated with producer Gregor Rabinovitch and directed films for various French, British, and German studios. Tourjansky often filmed his wife, Russian actress Nathalie Kovanko. She starred in fourteen of his films made in Russia and Europe. Eventually Tourjansky separated from Nathalie Kovanko, and later she returned to the Soviet Union.

Bethween WWI and WWII, Tourjansky directed over thirty French, British, American, and Franco-German films. He collaborated with director Abel Gance on the innovative film Napoleon (1927). In 1927 Tourjansky came to Hollywood. There, from 1927 - 1930, he worked at the Metro-Goldwyn-Mayer Studios where he re-united with his former teacher, Vladimir Nemirovich-Danchenko, who visited from Russia. Tourjansky was co-director of the Academy Award-winning film Tempest (1928), albeit he was uncredited. In Hollywood Tourjansky was hired to direct After Midnight (1927), but he questioned the talent of Norma Shearer, mentioning that the "Queen of MGM" had a cross-eyed stare, without knowing that she was about to marry Irving Thalberg, the powerful MGM producer. Tourjansky was fired from the project, and was sent to co-direct a western, The Adventurer (1927), on location in the inhospitable Mohave Desert. After he suffered for several weeks working in the sandy, windy, and hot desert, and dealing with nerve-wrecking logistical problems, Tourjansky did not achieve the result he wanted for the film. He became disillusioned and dissatisfied, and never wanted to direct another Hollywood film.

Back in Paris, Tourjansky opened his own office and re-established himself among the French-Russian film community. He was tirelessly wooing investors for his new projects, networking among intellectuals and businessmen of all backgrounds, including famous Russian émigrés in Paris, such as Aleksandr Kuprin and Yevgeni Zamyatin, as well as French, German, and British producers. Eventually his persistence and determination produced successful results. In 1931, Tourjansky spotted then unknown 21-year-old Simone Simon on the terrace of the Café de la Paix. He made her a famous actress after their first film together, The Unknown Singer (1931) (The Unknown Singer 1931). Tourjansky and Simon worked together again in Les yeux noirs (1935).

In 1936 he was hired by UFA-Film and moved to Potsdam-Babelsberg, then to Munich, Bavaria. There he worked for the rest of his life as film director and producer. Tourjansky made success with The Blue Fox (1938) (The Blue Fox 1938), a comedy starring Swedish actress Zarah Leander, who was rumoured to be a Soviet-controlled agent and a mistress of Adolf Hitler. Tourjansky himself had several personal meetings with the Reichskanzler during the late 1930s, and was summoned to make several propaganda films, such as Enemies (1940). As a consequence his reputation among the cosmopolitan film community had suffered.

After the Second World War, he lived in Munich, and worked for various film studios with various results. His last film made in the Nazi Germany, a criminal drama Orient-Express (1944), was released after the war. In 1950, he directed Der Mann, der zweimal leben wollte (1950) (The Man Who Wanted to Live Twice 1950), a film starring the famous Russian émigré actress Olga Tschechowa. Later Tourjansky directed period epic films, such as Herod the Great (1959), Prisoner of the Volga (1959), The Cossacks (1960), and The Pharaohs' Woman (1960), some of which were considered among his better works. During the 1950s and 1960s he was wintering in Italy and worked there as producer and writer under the artistic name Arnaldo Genoino. Viktor Tourjansky died on August 13, 1976, in Munich, Germany.

Mikhail Doller was born in 1889 in Vilna, Russian Empire [now Vilnius, Lithuania]. He was a director and actor, known for General Suvorov (1941), Minin i Pozharskiy (1939) and Life Is Beautiful (1930). He died on 15 March 1952 in Moscow, RSFSR, USSR [now Russia].

Abram Room was born on 28 June 1894 in Vilna, Russian Empire [now Vilnius, Lithuania]. He was a director and writer, known for Nashestvie (1945), Sud chesti (1949) and Bed and Sofa (1927). He died on 26 July 1976 in Moscow, Russian SFSR, USSR [now Russia].

Vsevolod Pudovkin was born on 28 February 1893 in Penza, Russian Empire [now Russia]. He was a director and actor, known for Admiral Nakhimov (1947), Zhukovsky (1950) and Minin i Pozharskiy (1939). He was married to Anna Zemtsova. He died on 30 June 1953 in Jurmala, Latvian SSR, USSR [now Latvia].

Grigori Aleksandrov was a Soviet-Russian filmmaker best known as director of Volga - Volga (1938), The Circus (1936), and October (Ten Days that Shook the World) (1928), as well as co-star in Battleship Potemkin (1925) by director Sergei Eisenstein.

He was born Grigori Vasilyevich Mormonenko on January 23, 1903 in Ekaterinburg, Russia. His father, Vasili Mormonenko, was a worker. Young Aleksandrov was obsessed with acting and movies. At the age of 9 he was hired as a delivery boy at the Ekaterinburg Opera; there he eventually worked as an assistant dresser, electrician, decorator, and assistant director. He studied violin and piano at the Ekaterinburg School of Music, graduating in 1917. During the Russian Civil War of 1917-1920, he was road manager with the Theatre of Eastern Front of the Red Army. After the Civil War he graduated from the Directors Courses for Proletariat Theatre in Ekaterinburg, and was appointed Inspector of Arts at the Ekaterinburg Regional Administration. His job was to supervise theaters and to select films in compliance with the new ideology.

Aleksandrov met Eisenstein in 1921. They worked together on several stage productions in 1921-24. In 1923 Aleksandrov appeared as Glumov in a stage production of A. Ostrovsky's play at the Moscow Proletkult Theatre, directed by Eisenstein. They worked together on the scenario of their first films: 'Stachka' (1924) and 'Bronenosets Potemkin' (1925). They wrote and directed 'Oktyabr' (1927), a historical film made to look like a documentary about the Russian revolution. In 1929-1933 both Aleksandrov and Eisenstein were sent to study and work in Hollywood. Back in the Soviet Union Aleksandrov made a short documentary film titled 'International' (1932).

In 1933 Aleksandrov had a meeting with Joseph Stalin and Maxim Gorky at the Gorky's State Dacha near Moscow. Stalin offered the oportunity to Aleksandrov to make a musical comedy for the Soviet people. 'Veselye Rebyata' (aka.. Jolly fellows) was completed in 1934, starring Leonid Utyosov and Lyubov Orlova. 'Veselye Rebyata' became the #1 box office hit in Russia and was awarded at the Venice Film Festival. Leonid Utyosov and Lyubov Orlova became instant celebrities, and songs by composer Isaak Dunaevskiy became popular hits in the Soviet Union.

Aleksandrov directed and edited the documentary of Stalin's speech about the Soviet constitution, titled 'Doklad tov. Stalina o proekte Konstitutsii SSSR na VIII Chresvychaynom S'ezde Sovetov' (1937). After that Aleksandrov returned to making comedies. Aleksandrov's wife, Lyubov Orlova, starred in almost all of his feature films, such as 'Tsirk' (1936), 'Volga-Volga' (1938), 'Svetly Put' (1940), 'Vesna' (1947) among his other films. His 1930s comedies remained rather popular among several generations of viewers in the Soviet Union, as well as internationally. In 1942 Joseph Stalin sent a copy of Volga - Volga (1938) to American president Franklin D. Roosevelt.

However, Aleksandrov's success came at a painful price, as he suffered from many attacks by some less fortunate and envious filmmakers, as well as from blackmailing by invisible and anonymous enemy. In 1938 Aleksandrov's colleagues, cinematographer Vladimir Nilsen, and producer Boris Shumyatskiy, were executed by the firing squad for anti-government activities. At the same time both Aleksandrov and Orlova were falsely accused of spying for the Nazi Germany, but were cleared of all charges.

During the 1950s he taught directing at State Institute of Cinematography (VGIK). His last films had little success, and some, like 'Skvorets i lira' (1973) were not even released in theaters. Aleksandrov also made a few documentaries, including one about Lenin, and one about his wife, star actress Lyubov Orlova.

Grigori Aleksandrov received the Stalin's Prize twice (1941, 1950), the Order of Lenin twice (1939, 1950), the Order of Red Star (1938), and the Order of the Red Banner twice (1963, 1967). He was designated People's Actor of the USSR. Grigori Aleksandrov died of kidney infection on December 16, 1983, at the Kremlin Hospital in Moscow, and was laid to rest next to his wife, Lyubov Orlova in Novodevichy Cemetery, Moscow, Russia.

Dziga Vertov was born on 2 January 1896 in Bialystok, Grodno Governorate, Russian Empire [now Podlaskie, Poland]. He was a director and writer, known for Man with a Movie Camera (1929), Three Songs About Lenin (1934) and The Sixth Part of the World (1926). He was married to Elizaveta Svilova. He died on 12 February 1954 in Moscow, RSFSR, USSR [now Russia].

Fridrikh Ermler was born on 13 May 1898 in Rechitsa, Vitebsk Governorate, Russian Empire [now Rezekne, Latvia]. He was a director and writer, known for The Great Force (1951), Great Citizen (1938) and The Turning Point (1945). He died on 12 July 1967 in Leningrad, USSR [now St. Petersburg, Russia].

Aleksandr Dovzhenko was born on 10 September 1894 in Vyunishche, Sosnitsa Ueyzd, Chernigov Governorate, Russian Empire [now Sosnitsa, Sosnitsa Raion, Chernihiv Oblast, Ukraine]. He was a writer and director, known for Earth (1930), Shors (1939) and Life in Bloom (1949). He was married to Yuliya Solntseva. He died on 25 November 1956 in Moscow, Russian SFSR, USSR [now Russia].

Boris Barnet was born on 18 June 1902 in Moscow, Russian Empire [now Russia]. He was a director and actor, known for The Adventures of the Three Reporters (1926), Secret Agent (1947) and Okraina (1933). He was married to Yelena Kuzmina, Natalia Glan, Alla Kazanskaya and Valentina Barnet. He died on 8 January 1965 in Riga, Latvian SSR, USSR [now Latvia].

Amasi Martirosyan was born on 18 April 1897 in Erivan, Russian Empire [now Yerevan, Armenia]. He was a director and actor, known for Vsegda gotov (1930), Gikor (1934) and Kaj Nazar (1940). He died on 21 December 1971 in Yerevan, USSR [now Armenia].

Sergey Vasilev was born on 4 November 1900 in Moscow, Russian Empire [now Russia]. He was a director and writer, known for Chapaev (1934), Fortress on the Volga (1942) and Heroes of Shipka (1955). He died on 16 December 1959 in Moscow, RSFSR, USSR [now Russia].

Georgi Vasilyev was born on 25 November 1899 in Vologda, Russian Empire [now Russia]. He was a director and writer, known for Chapaev (1934), Fortress on the Volga (1942) and Spyashchaya krasavitsa (1930). He died on 18 June 1946 in Ljubljana, Yugoslavia [now Slovenia].

Aleksandr Medvedkin was born on 24 February 1900 in Penza, Russian Empire [now Russia]. He was a director and writer, known for The New Moscow (1938), Happiness (1935) and Chudesnitsa (1937). He died on 20 February 1989 in Moscow, RSFSR, USSR [now Russia].

Vladimir Petrov was born on 22 July 1896 in St. Petersburg, Russian Empire [now Russia]. He was a director and writer, known for Peter the First (1937), Bez viny vinovatye (1945) and Conquest of Peter the Great (1939). He died on 7 January 1966 in Moscow, RSFSR, USSR [now Russia].

Mark Donskoy was born on 6 March 1901 in Odessa, Kherson Governorate, Russian Empire [now Ukraine]. He was a director and writer, known for Gorky 1: The Childhood of Maxim Gorky (1938), The Taras Family (1945) and Mother (1956). He died on 21 March 1981 in Moscow, RSFSR, USSR [now Russia].