We live in a world and a time in which Russian affairs and controversies have dominated international news headlines in recent years, ranging from Russia’s 2014 annexation of Crimea, their possible collusion with the Trump campaign in the 2016 US presidential election, and reports of gay concentration camps in Chechnya. Russia has an incredibly influential and polarizing leader with a near cult-of-personality in his own country, and Vladimir Putin has been accused of assassinating political opponents and of running Russia as a “dictatorship,” with, as John McCain calls it, “sham elections.”
When creating The Death of Stalin, director Armando Iannucci thought back to a time in Russia’s history when another incredibly influential and polarizing leader was in power with a near cult-of-personality in his own country, who assassinated political opponents and ran Russia as a dictatorship. More specifically, while envisioning the movie, he must have thought of the political turmoil and power struggle that happened after his death, and questioned: now what if it were a comedy?
In The Death of Stalin, both Soviet stereotypes and policies are exemplified through the different actions and worries of the Soviet politicians who prepare to consolidate power for themselves after Stalin’s sudden death. The movie focuses on the plans they come up with to outsmart and ally with each other in order to enact their own policies and paranoia and fear, fueling much of the memorable comedic parts of the movie. Characters are constantly reluctant to share anti-Stalin sentiment or share sensitive information on secret alliances, even in the privacy of their own houses in fear of being listened-upon. Paranoia and fear acts as a comedic factor from the very start—for example, the first ten minutes describe a radio station’s desperate attempt to get an entire orchestra to replay and record Mozart’s Piano Concerto No. 23 because Stalin wanted a recording of the performance that the station didn’t record in the first place.
However, not all of The Death of Stalin’s dry humor is based on stereotypes; some is based on historical facts (although moviegoers should not go into the movie expecting complete historical accuracy). One subtle and genius example is when Vasily Stalin, played by Rupert Friend, makes reference to his cover-up of the 1950 Sverdlovsk plane crash when supervising the Soviet ice hockey team. Though the jokes may be embedded in Soviet history and references, many of the jokes are delivered in the same manner as a traditional Western sitcom; after all, Iannucci directed Veep from 2012 to 2015. This effect is achieved through awkward timing and misunderstandings, and irreverent, dry, cynical, and non-cooperative discussions that characters have. These include quips with one another, such as when Stalin’s unconscious body is being lifted to his bed, and the lifters constantly complain about the smell and stain of Stalin’s urine.
By the end of the film, the movie abruptly and unexpectedly delivers a message on the dangers of political ambition and the hypocrisy of Soviet politics and ideals. What I found interesting was the lack of any Russian accents. Stalin, in the movie, has an English accent, due to his portrayer, Adrian McLoughlin, having been born in London, while Khrushchev, played by Steve Buscemi, has a New York accent. I believe this decision was appropriate to the content; Iannucci did not try to make a historically accurate documentary; instead, he created a political satire. Whether or not you are well-knowledged in Russian history, everyone can appreciate the absurdity and the chaotic humor from all parties that Iannucci portrays following the death of Stalin.