Hello, my name is Justin the Clue, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And today, the long-awaited Russian film history 101 episode.

Are we going to talk about montage theory?

Yes, we are going to talk about montage theory.

Because we are talking about Sevalod Padovkin, the number two, silent era Soviet filmmaker, the number two silent era montage film theorist.

And that will be the first and only time one of us will say his full name.

We will be calling him Padov one of us will say his full name. We will be calling him Podofkin from now on.

That's right.

Folks, there are many things in this world that I don't know a lot about.

One of them is the cinema of the Soviet Union.

So this is an educational experience, well, for you, the listener, of course, but also for us. Unless you already know a lot

about it and you're just listening with your arms cross, waiting to go, that's not how you

pronounce that name. You got that historical fact incorrect. That's right. If you are one of those

people, stop listening right now. We are doing this episode for people who know even less than us.

But hopefully, we will be able to provide at least some insight for those people,

because this week we watched two of Podovkin's most celebrated silent era films,

Mother and Storm Over Asia.

So we should start with why have you not watched a lot of classic early Russian cinema will?

Yeah, that's a good question. It would seem kind of up my alley. I'm interested in historical

propagandistic kitsch as much as the next guy. You know, I've seen the major Eisenstein movies,

but I think it's because I kind of know what I'm going to get out of

...