“The Death of Stalin”

As a student of history, particularly Russian history, I was curious about the new film “The Death of Stalin,” then appalled when I did some online research and found out that it’s a slapstick comedy about officials grasping for power after Stalin died in 1953. What’s funny about something like this? Nothing. Also shocking is the way the film gives absolutely no context about Stalin, one of the key historical figures, for good or ill, of the 20th century. As Peter Hitchens, a London reader of The Guardian wrote in that paper’s letters section on 10-27-17, “As far as I know, this is the first time a mass-market film has dealt with this event. We may be saturated with serious drama and documentary material on the Nazis and the end of Hitler, but the equivalent evils of the Stalin nightmare haven’t received anything like the same treatment. For most who see the film, it will be the first time they’ve ever heard of these strange events. And what do they see? An intensely serious moment in human history played for laughs, with lavatory humor and plentiful use of the failed comedian’s standby, the F-word. We’re so free and safe that we can hardly begin to imagine a despot so terrifying that his subordinates are even afraid of his corpse. This trivial and inaccurate squib doesn’t help us to do so. Perhaps it’s the comedians who need to be satirized, by some fitting seriousness about a serious subject.”

The only critical review I found of the film online was one posted on the World Socialist website (www.wsws.org) on 3-9-18. David Walsh describes it as “a fatally ill-conceived ‘black comedy’ about the demise of the gravedigger of the Russian Revolution, Joseph Stalin, in March 1953. The film is not so much maliciously anticommunist as it is, above all, historically clueless. Iannucci presents the various surviving Stalinist officials, Nikita Khrushchev, Georgy Malenkov, Vyacheslav Molotov, Anastas Mikoyan, Nikolai Bulganin, and the rest, all of whom had gallons of blood on their hands, as a largely ineffectual bunch of bunglers and toadies, jockeying ‘comically’ for position. The betrayal of the Russian Revolution was one of the greatest tragedies in world history [not to mention the planned famine in Ukraine and Stalin’s purges, which together killed more people than Hitler]. Iannucci’s film doesn’t begin to confront the vast significance of events in the Soviet Union.

Taken in and of themselves, there are amusing lines and moments, until one remembers the general context and the historical stakes, and the laughter freezes in one’s throat. All the actors are fine at doing what they’re asked to do, but what they’re asked to do is terribly off the mark. It’s impossible to make sense of a film like ‘The Death of Stalin’ except in the context of the disastrously low level of historical knowledge or interest that exists in the arts at present.

Iannucci is a Scottish-born television, film and radio writer and director, responsible for ‘I’m Alan Partridge’ (along with Steve Coogan), ‘The Thick of It,’ ‘In the Loop,’ and ‘Veep,’ among other efforts, and under the right circumstances, he’s capable of creating funny, pointed satire. When it comes to bringing out the dishonesty, careerist opportunism, and stupidity of garden-variety politicians, media personalities, and other establishment figures, he probably has few equals today. However, when the writer-director steps outside the fairly narrow confines of parliamentary and entertainment industry backroom shenanigans, he falters badly. The second half of ‘In the Loop,’ which satirized the British government’s complicity in the Bush administration’s drive to war in Iraq, is politically blunted and largely unfunny. HBO’s ‘Veep,’ too, about a fictional female US vice president, finds Iannucci over his head. For all its coarseness, it’s quite timid in its portrayal of the ugliness of American politics, with little mention of war policy, drone strikes, and other things that surely consume a great deal of a real president’s focus and attention.

Art and comedy have to rise to – or at least approach – the level of the events or personalities they’re treating. That is, there needs to be some artistic and intellectual correspondence between subject and object. Iannucci’s film is based on a [non-comic] French graphic novel series by Fabien Nury and Thierry Robin. Iannucci has undoubtedly added his own touch. And it’s simply inappropriate and, at times, grotesque.”

I believe history, as the backstory to current and future events, is the key to understanding where we are and where we could go, and I’m more than saddened by the preponderant lack of knowledge of or interest in it today – probably because of the boring, textbook-centered way it’s taught in high school. Good historical novels and films can make up for some of this, but bad ones, like “The Death of Stalin” just deepen the ignorance. Take the time to be curious about your world, and how it came to be the way it currently is. Find important history books by reading reviews on Amazon, then buy or borrow and read them!

 

About (They Got the Guns, but) We Got the Numbers

I'm an artist and student of history, living in Eugene, OR. On the upside of 70 and retired from a jack-of-all-trades "career," I walk, do yoga, and hang out with my teenage grandkids. I believe we can make this world better for them and the young and innocent everywhere, if we connect with each other and create peaceful, cooperative communities as independent of big corporations and corporate-dominated governments as possible.

Posted on March 11, 2018, in Communism, Films, History, Mainstream media. Bookmark the permalink. 1 Comment.

  1. Great review!

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