Director Armando Iannucci, renowned for the HBO series Veep, delivers another sharp political satire with The Death of Stalin. Prior to its release, the film garnered attention due to its ban in Russia, where the story unfolds against a backdrop of Soviet history. One Russian cinema defied the ban, resulting in a police raid and confiscation of the film.
The year is 1953, and Joseph Stalin (Adrian McLoughlin) maintains absolute power. Guards stationed outside Stalin’s chambers hear a fall but, adhering to strict orders, refrain from entering. The following morning, the cook discovers Stalin incapacitated on the floor, suffering from a severe stroke and lying in a pool of urine. This event triggers widespread panic, plunging the Soviet Union’s political landscape into unprecedented chaos.
Political satire remains Armando Iannucci’s forte, exemplified once again in this film. The Death of Stalin is adapted from the French graphic novel of the same name. Iannucci initially considered creating a film about a fictional, contemporary dictator (as discussed in our interview), but the source material altered his course. This proved to be a judicious choice, as depicting a fictionalized scenario might have diminished the impact. Despite the film’s outlandish moments, much of it is rooted in historical fact. A prime example is the anecdote of Stalin’s alcoholic son, who, after losing the national hockey team in a plane crash during a storm he insisted upon, attempted to cover up the disaster by enlisting friends and acquaintances as replacement players – with predictably disastrous results. You can find the full interview in the video clip above!
A notable strength of the film is Iannucci’s decision to forgo artificial Russian accents. This choice prevents audience distraction and maintains a sense of realism. The actors’ natural voices enhance the authenticity of their portrayals.
Simon Russel Beale portrays Beria. Primarily a stage actor in England, Beale’s performance is a compelling introduction to his talent. Beria’s historical persona was notoriously vile, and despite the film’s comedic approach, it incorporates graphic scenes in which Beale is heavily involved. His physical presence and comedic timing contribute significantly to the viewing experience.
Steve Buscemi, as Nikita Khrushchev, delivers a standout performance. A consistently reliable actor since his appearance in Tarantino’s Reservoir Dogs, Buscemi seamlessly integrates into the film’s tone. He successfully balances the comedic aspects with the genuine portrayal of a historical figure.
Andrea Riseborough portrays Stalin’s daughter with conviction, and her dynamic with Rupert Friend, who plays her alcoholic brother, is particularly effective.
Michael Palin offers his customary masterful performance as Molotov. Deserving of mention are also Paddy Considine and Jason Issacs, who each deliver exceptional interpretations of their respective roles. Olga Kurylenko, previously featured in films such as the Bond installment Quantum of Solace, has a smaller but pivotal role. While her past performances have been uneven, she is exceptionally well-suited to this role. It’s refreshing to witness her in a successful performance.
The Death of Stalin isn’t a laugh-out-loud comedy, but rather a simmering pressure cooker. While it may require some initial investment, the film ultimately provides a rewarding journey through the absurd power vacuum that emerged following Stalin’s demise. The dialogue is sharp and reminiscent of Veep, and the pacing is generally well-maintained, although it could benefit from a slight acceleration in certain segments. Importantly, the film avoids ridiculing the Russian people, instead directing its satire towards the political figures. The extent to which the film reflects reality is a matter of speculation, particularly given the decision by contemporary Russian politicians to ban it. Overall, it is highly recommended, especially for those who appreciate Veep and In the Loop.
