Pudovkin is often designated as the second great artist of the Soviet silent film; his accomplishments have often taken a back seat to those of his more bellicose contemporary, Sergei Eisenstein. The...
Debut as assistant director of "agitka", "Sickle and Hammer"
Begins writing film theory pamphlets, which would eventually be published in English under the titles "Film Technique" and "Film Acting"
First solo full-length directorial effort, the scientific documentary, "Mechanics of the Brain"
Awarded the Order of Lenin
Joined Kuleshov's "experimental laboratory"
Screenwriting debut, "Locksmith and Chancellor"
Film acting debut in Perestiani's agitprop film "In the Days of Struggle"
Injured in an auto accident, in which the scriptwriter of "Mother", Nathan Zarkhi, dies
Directs feature masterpiece, "Mother"
Became assistant director to school's principals Vladimir Gardin and Ivan Perestiani
Last directorial effort, "Vozrashcheni Vasiliya Bortnikova/ Vasili's Return"
Returned to filmmaking with the feature "Sons", co-directed by Mikhail Doller
Co-directed documentary, "Hunger-Hunger-Hunger"
Enrolled in Moscow's State Institute of Cinematography
Decided to leave chemistry behind after viewing D.W. Griffith's "Intolerance"
Pudovkin is often designated as the second great artist of the Soviet silent film; his accomplishments have often taken a back seat to those of his more bellicose contemporary, Sergei Eisenstein. The difference between the two directors is typified in the oft-quoted statement of French critic Leon Moussinac: "Pudovkin's films resemble a song, Eisenstein's a scream." But if Eisenstein gained notoriety as the more resolutely avant-garde film artist, it was Pudovkin who arguably made the more enduring contributions to the medium, refining the body of techniques--pioneered by D.W. Griffith--which today compose the seamless continuity of the psychological film.