During the existence of the communist regime in Russia which reigned from 1918 to 1989, many film productions were made to highlight some key areas not only of the Russian revolution, such as that of Sergei Eisentien" October", but also to identify many key characteristics of the individual who finds himself at the center of this transition. Aleksandr Askoldov's 1967 production of "The Commissar" is arguably the most famous film portraying the various circumstances and conditions of individuals in the midst of revolution. It focuses on a female commissar named Vavilova who, along with her Red Army military unit, firmly believes in communist revolution and is engaged in a civil war with the Tsar's loyalists and various Western troops known as the White Army. While Vavilova represents a strong, dominant and brutal portrayal of women, which is clearly evident from the early stages of the film, Askoldov also presents another portrait of women through the character of Mariya, a traditional Jewish wife and mother of six children. Askoldov enhances the representation of women through the character of Vavilova herself who, as the film progresses, seems to transform from her tough exterior shown at the beginning of the film, into a more traditional woman like Mariya. However, while it is conceivable to believe that Vavilova was transformed by becoming a mother and living with a simple but loving family away from the harshness and brutality of war, Yefim, Mariya's husband, suggests that Vavilova's feminine qualities have always existed, but are always been deeply buried: "#Doeswearingpantsmakeyouaman?" This suggests that Vavilova was forced to put on a tough exterior around her in order to survive as a traditional woman who wants to take care of her child. However, the clear difference between Vavilova and Mariya is that while Mariya is an excellent mother and a supportive wife, content and used to waiting for better days, Vavilova seeks the best for her and her son by sacrificing her happiness and perhaps her life for the future. greater good. It is this sacrifice of her life that finally describes Vavilova as her true self. She is essentially the total woman, loving mother and devoted soldier. Bibliography · Elena Stishova, The mythification of the Soviet woman, The commissar and other cases · Maria Deppermann, The genealogy of the female commissar in Soviet culture, University of Innsbruck · Aleksandr Askoldov, The commissar, 1967 · http://www.berdichev.org /comissar.html