FULL DOCUMENTARY HERE

Leaders and representatives across the world pay their respects to Comrade Stalin at his lying-in-state, March 6-9, 1953.

THE GREAT FAREWELL (1953) | FULL DOCUMENTARY

(Stalin's Funeral)

Original title: Великое прощание (Velikoye proshchaniye)

Year: 1953

Studio: Central Studio for Documentary Films (ЦСДФ)

Color / Black & White

A Soviet state documentary chronicling the lying-in-state and funeral of Iosif Stalin, 6–9 March 1953. The film records the mass grief of the Soviet working class and peasantry, the honor guard of allied nations, the Red Square procession, and the interment at the Lenin Mausoleum.

Aram Khachaturian’s score shapes the film into a requiem for the leader of the first socialist state. More than a record of mourning, the work is a document of proletarian state power at the moment of its gravest internal crisis.

CREW

Directors:

Grigori Aleksandrov, Sergey Gerasimov, Ilya Kopalin, Mikheil Chiaureli, Elizaveta Svilova, Irina Setkina

Screenwriters: Directorial Collective

Literary script by Alexey Surkov

Chief Cinematographers:

Ivan Beliakov, Ruvim Khalushakov, Vladimir Lavrov, and over 200 cameramen from across the USSR

Composer: Aram Khachaturian

Assistant Director: Semiramida Pumpyanskaya

Happy Saturday

Today marks Victory Day.

In the early hours of May 9th, 1945, the Soviet Union proclaimed to its people that the German government signed its instrument of surrender.

27 million Soviet people died in the war against Nazism.

8.66 million military deaths.

17.8-19 million civilian deaths.

Over 3 million deaths were registered members of the Communist Party.

Everyone alive today owes a great debt to the Red Army.

Full Uncensored Film Here

Comrade Stalin receives news of Lenin’s health following Fanny Kaplan’s assassination attempt, and develops a plan to push the Whites out of Tsaritsyn.

Full Uncensored Movie Here

We do not honor him as a prophet, but as the foremost scientist of revolution, whose method remains the sharpest weapon of the international proletariat.

As a young journalist at the Rheinische Zeitung, Marx confronted the material reality of state censorship and the poverty of the Moselle peasants, propelling him toward the study of political economy.

Expelled from Germany and France, he settled in London, where he spent decades in the British Museum Reading Room, Seat G7, dissecting the anatomy of capital.
Sustained by his wife Jenny von Westphalen and comrade Friedrich Engels, he produced works that would change the world.

The Communist Manifesto of 1848 was a declaration of war. It openly declared that the history of all hitherto existing society is the history of class struggles and called the proletariat to overthrow the bourgeoisie. Its closing command,

"Workers of the World, Unite! You have nothing to lose but your chains. You have a world to win."

Remains our marching order.

Then came Das Kapital, the definitive critique of political economy. Marx laid bare the secret of capitalist production: surplus value. He revealed that the worker sells not labor, but labor-power, and the difference between the value created and the cost of subsistence, that unpaid surplus labor, is the source of all profit.
He demonstrated that capitalism must centralize capital, immiserate the proletariat, and produce recurring crises of overproduction. Capitalism creates its own gravediggers: the organized working class, disciplined and unified in the factory itself.

Marx's foundational discovery was the materialist conception of history. The mode of production of material life conditions the general process of social, political, and intellectual life. It is not consciousness that determines being, but social being that determines consciousness. When productive forces come into conflict with existing relations of production, an epoch of social revolution begins. This was not fatalism. It was the science of revolutionary praxis.

The point is not merely to interpret the world, but to change it.

Marx organized the First International and waged relentless war against anarchists and reformists.
From the Paris Commune, he drew the great lesson: the working class cannot simply lay hold of the ready-made state machinery and wield it for its own purposes. The bourgeois state must be smashed.

Today, in an era of imperialist war, billionaire oligarchy, and planetary crisis, Marx's analysis is more potent a weapon to the ruling class than ever.

His legacy is not a collection of dogmas. It is the science of revolution. It lives in every strike, every act of resistance to imperialism, every brick laid in constructing a new society.

Marx lived. Marx lives.

Onward to the victory of the international proletariat.

"The worker becomes poorer the more wealth he produces and the more his production increases in power and extent. The worker becomes an ever cheaper commodity the more goods he creates. The devaluation of the human world increases in direct relation to the increase in value of the world of things.

Labour does not only create goods; it also produces itself and the worker as a commodity, and indeed in the same proportion as it produces goods. This fact simply implies that the object produced by labour, its product, now stands opposed to it as an alien being, as a power independent of the producer. The product of labour is labour which has been embodied in an object and turned into a physical thing; this product is an objectification of labour. So much does the performance of work appear as devaluation that the worker is devalued to the point of starvation. So much does objectification appear as loss of the object that the worker is deprived of the most essential things not only of life but also of work. Labour itself becomes an object which he can acquire only with the greatest effort and with unpredictable interruptions. The more objects the worker produces the fewer he can possess and the more he falls under the domination of his product, of capital. All these consequences follow from the fact that the worker is related to the product of his labour as to an alien object.

The worker puts his life into the object, and his life then belongs no longer to himself but to the object. The greater his activity, therefore, the less he possesses. What is embodied in the product of his labour is no longer his own. The greater this product is, therefore, the more he is diminished. The alienation of the worker in his product means not only that his labour becomes an object, assumes an external existence, but that it exists independently, outside himself, and alien to him, and that it stands opposed to him as an autonomous power.

The life which he has given to the object sets itself against him as an alien and hostile force."

— Karl Marx, Economic and Philosophic Manuscripts of 1844, "Estranged Labour" section.

"It is true that labour produces wonderful things for the rich — but for the worker it produces privation. It produces palaces — but for the worker, hovels. It produces beauty — but for the worker, deformity. It replaces labour by machines, but it throws one section of the workers back to a barbarous type of labour, and it turns the other section into a machine. It produces intelligence — but for the worker, stupidity, cretinism."

— Karl Marx, Economic and Philosophic Manuscripts of 1844, "Estranged Labour" section.

"He does not fulfil himself in his work but denies himself, has a feeling of misery rather than well-being, does not develop freely his mental and physical energies but is physically exhausted and mentally debased. The worker, therefore, feels himself at home only during his leisure time, whereas at work he feels homeless. His work is not voluntary but imposed, forced labour. It is not the satisfaction of a need, but only a means for satisfying other needs."

— Karl Marx, Economic and Philosophic Manuscripts of 1844, "Estranged Labour" section.

"If we then disregard the use-value of commodities, only one property remains, that of being products of labour. They are all together reduced to the same kind of labour, human labour in the abstract. They are merely congealed quantities of homogeneous human labour-power expended without regard to the form of its expenditure. As crystals of this social substance, which is common to them all, they are values — commodity values."

— Karl Marx, Capital, Volume I, Chapter I: "Commodities."

"Communism as the positive transcendence of private property as human self-estrangement, and therefore as the real appropriation of the human essence by and for man; communism therefore as the complete return of man to himself as a social (i.e., human) being — a return accomplished consciously and embracing the entire wealth of previous development. This communism, as fully developed naturalism, equals humanism, and as fully developed humanism equals naturalism; it is the genuine resolution of the conflict between man and nature and between man and man — the true resolution of the strife between existence and essence, between objectification and self-confirmation, between freedom and necessity, between the individual and the species. Communism is the riddle of history solved, and it knows itself to be this solution."

— Karl Marx, Economic and Philosophic Manuscripts of 1844, "Private Property and Communism" section.

its not me saying it its Mr. Jones sir

Let’s share our memes, comrades!

Watch the Full Uncensored Film Here

Today is May 2, the day the Red Army raised the Soviet Flag over the Reichstag.

☭Celebrate with this hope-pilled music video!☭

Completely uncensored original film with English subtitles. Highest quality film available without going to MosFilm archives and begging for a blu ray scan.

Lenin in 1918 (Ленин в 1918 году) is a 1939 Soviet biographical historical drama directed by Mikhail Romm, with co-directors Yefim Aron and Isidor Simkov.

Written by Aleksei Kapler and Taisiya Zlatogorova, this film presents a dramatized account of a critical year during the Russian Civil War.

Set in 1918, the young Soviet Republic faces famine, counter-revolutionary conspiracies, and foreign intervention. The narrative follows Vladimir Lenin (Boris Shchukin) as he leads the embattled state from the Kremlin while contending with personal danger. The central drama builds around a conspiracy uncovered by Kremlin Commandant Mateyev (Vasili Vanin), culminating in the assassination attempt on Lenin by Fanny Kaplan (Natalya Efron) at the Mikhelson Factory.

The film also portrays the critical leadership of Iosif Stalin (Mikheil Gelovani) during this period of war and turmoil.

Directors

Mikhail Romm 
Yefim Aron (co-director) 
Isidor Simkov (co-director)

Writers

Aleksei Kapler Taisiya Zlatogorova

Cast

Boris Shchukin as Vladimir Lenin 
Mikheil Gelovani as Iosif Stalin (scenes deleted in later reissues) 
Nikolai Okhlopkov as Vasili, Lenin's protégé and bodyguard  
Aleksandr Shatov as Konstantinov, chief conspirator  
Vasiliy Markov as Felix Edmundovich Dzerzhinsky  
Vasili Vanin as Kremlin Commandant Matveyev  
Nikolai Cherkasov as Maxim Gorky  
Leonid Lyubashevsky as Yakov Mikhailovich Sverdlov 
Vladimir Solovyov as Sintsov, a spy
Nikolai Svobodin as Rutkovsky, a conspirator
Viktor Tretyakov as Novikov, a conspirator
Natalya Efron as Fanny/Fanya Kaplan
Elena Muzil as Yevdokia Ivanova, Lenin's housekeeper
Nikolai Bogolyubov as Kliment Voroshilov
Z. Dobina as Nadezhda Konstantinovna Krupskaya
Serafim Kozminskiy as Bobylyov, Lenin's assistant 
Klavdiya Korobova as Vasili's wife
Dmitriy Orlov as Korobov, a farm worker
Nikolai Plotnikov as a kulak from Tambov
Iosif Tolchanov as Andrei Fedorovich, attending physician
Aleksandr Khokhlov as a Professor of Medicine
Semyon Goldshtab (role unspecified)
Vladimir Pokrovskiy (role unspecified) 

Uncredited Cast

Sergei Antimonov as Polyakov
Viktor Bubnov as a sailor (Matros)
Anna Chekulaeva as Telegraph Operator
Vladimir Dorofeyev as Petrov
Mikhail Gladysh as White Guard Colonel
Nikolay Gorich as a Ambassador
Avenir Gulkovskiy as an Anarchist
A. Ignatyeva as Woman in a Crowd of Workers
Vasiliy Krasnoshchyokov as Chepalinskiy
Mariya Kravchunovskaya as Gornikova
Viktor Kulakov as Bukharin
Ivan Lagutin as Filimonov
Rostislav Plyatt as Voyenspets
Varvara Sevastyanova as Sister of Mercy
Sergey Tikhonravov as The Gentleman in the Ambassador's Box
Vladimir Uralskiy as Commander

Composer

Nikolai Kryukov 

Cinematographer

Boris Volchek 

Editor

Yevgeniya Abdirkina 

Art Directors

Boris Dubrovsky-Eshke

Viktor Ivanov 

Costume Designer

Konstantin Eliseev 

Makeup Department

A. Yermolov (makeup artist) 

Production Management

N. Privezentsev (production director) 

Second Unit Directors or Assistant Directors

Tatyana Berezantseva

Fyodor Filippov

Artavazd Kefchiyan

Era Savelyeva

K. Zhukovsky 

Art Department

Anatoly Belsky (poster artist) 

Sound Department

Sergei Minervin (sound engineer)

Boris Volsky (sound producer) 

Camera and Electrical Department

I. Davidov (assistant camera)

Yuli Kun (assistant camera)

I. Yablonovskiy (assistant camera)

Philippines today

"The contingency plans for territorial defense were not activated. A surprise attack is impossible."

"As militants and founders of the PSUV, the restoration of the free-market economy is an undeniable fact."

"Freedom and sovereignty are not begged for; they are conquered and defended."

“I keep sounding the alarm over what I’m convinced is a silent invasion occupying our public powers, our institutions, our sovereignty, our freedom and independence, which Commander Hugo Chávez, in his final proclamation, urged us to defend to the last consequence.”

via Combate https://x.com/upholdreality/status/2049675322715472216

Clip from 1951 film The Unforgettable Year 1919

Watch the full film in English sub for the 1st time here

https://youtu.be/kopk5DTB0yc

The Unforgettable Year 1919 (Russian: Незабываемый 1919 год, romanized: Nezabyvaemyy 1919 god) is a 1951 Soviet historical drama film directed by Mikheil Chiaureli.

Now for the first time with English subtitles. (fixed some errors, reupload)

I found the best copy i could, applied a 2x integer upscale with some film grain filtering.

Lenin dispatched Stalin to Petrograd on May 17, 1919 to reorganize its defenses against an attack by the White Army of General N. N. Yudenich.

Upon his arrival, Stalin was given a mandate by the Council of Defense, dated that same day, empowering him to take "all urgent measures necessitated by the situation" on the Western Front. He arrived in the city on May 19, 1919, and his presence marked the beginning of the Soviet counter-offensive in the region.

Stalin's actions included discovering a counter-revolutionary conspiracy, working to reorganize the Seventh Army, and vigorously pushing back against a proposal to decommission Baltic Fleet vessels. Following the successful repulse of the White Army by the end of June 1919, he was appointed to the Military Council of the Western Front, expanding his command beyond Petrograd.

Main Cast Boris Andreyev as Shibaev

Mikheil Gelovani as Joseph Stalin

Pavel Molchanov as Vladimir Lenin

Directed by Mikheil Chiaureli

Written by Vsevolod Vishnevsky (play)

Screenplay by Vsevolod Vishnevsky, Alexander Filmonov, Mikheil Chiaureli

Produced by Viktor Tsirgiladze

Cinematography Leonid Kosmatov, Vitaly Nikolaev

Edited by Tatiana Likhacheva

Music by Dmitri Shostakovich

Ленин будет жить! Слава Сталину! Коммунизм победит!

Незабываемый 1919 год (The Unforgettable Year 1919, by Mikheil Chiaureli 1951)

Ленин в 1918 году (Lenin in 1918, by Mikail Romm 1939)

^ Lenin in 1918 is a sequel to Romm’s 1937 film Lenin in October. The 1st one is already available on YouTube with Eng subs uncensored (tho the uploader thinks it’s the censored version, it’s not, Stalin just wasn’t that prominent in the 1st film)

You can watch the aforementioned 1st film Lenin in October here uncensored

I am almost done with Unforgettable Year 1919 which is basically just a Stalin glaze film about his role in the defense of Petrograd during the civil war

stay tuned! Will likely upload the 1st later tonight

Edit: I really tried to finish The Unforgettable Year 1919, but it’s 1am now and I have work in the morning 😭 I will try to get it ready by tomorrow evening! Part 1 is subbed and just need to finish part 2 after work!

Edit 2: almost done!! Now to upload in the middle of night or wait for tomorrow for engagement…

Edit 3: just finished and it’s 1am again. I really gotta regulate myself.

1st film done

https://www.reddit.com/r/TankieTheDeprogram/s/LgxueFSG1N