Shors

1939
6.1| 2h20m| en
Details

The year is 1919. German troops retreat from Ukraine. The Directory, the Ukrainian national government lead by Symon Petliura, takes control of Kyiv. Meanwhile, the Bolshevik division commanded by Mykola Shchors is marching on the capital. The Bolsheviks capture the cities of Vinnytsia, Zhmerynka, and others one by one, but lose Berdychiv to Petliura’s forces. They are demoralized by the defeat. By his personal example of courage and military skill, Shchors inspires the retreating Red troops and leads them to victory over the enemy.

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Also starring Fyodor Ishchenko

Reviews

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.
Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.
Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.
Delight Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.
jgcorrea An earthy, epic historical drama set during World War I and the Russian Civil War, Shchors is a biographical portrait of the partisan leader and communist Nikolai Shchors, one of the few indisputable Bolshevik icons of Ukrainian origin. The work was commissioned by Stalin himself, who asked Dovzhenko to "give us a Ukrainian Chapayev" - a reference to the popular (though mediocre) 1934 film by Sergei and Georgi Vasiliev depicting the heroic exploits of a folksy Russian Red Army commander. The prolonged production of Shchors proved a nightmare for Dovzhenko, who was forced to submit every creative decision and every episode for high-level political approval, and who found himself accused of Ukrainian nationalism by Stalin's increasingly paranoid henchmen. There is one remarkable, picturesque sequence of burial. Nothing else. Shchors represents the glory of socialist-realist restrictions imposed upon an artist, the ultimate product of Zhdanovist canons. Nothing left of Dovzhenko's dynamic energy and fervent poetry featured in his best picture, 'Earth.'