The Death of Stalin

The Death of Stalin is a daring black comedy, written and directed by Armando Iannucci, released in 2017. This film ensures a satirical gaze to the vacuum of power and political manoeuvring following the death of the notorious Soviet Union leader, Joseph Stalin. It features high-profile stars such as Steve Buscemi, Simon Russell Beale, and Jeffrey Tambor, whose performances provide a cutting-edge dark humor that aptly addresses the political chaos of the time.

The story unfolds sneakily, depicting the wild days in Moscow after the passing of Stalin in 1953. It renders an entertainingly absurd perspective of alleged historical events, thinly coated with a layer of comedic exaggeration. Its narrative doesn't shy away from the brutal consequences of ruthless authoritarian regimes, making it a satire that bites harder than most.

Simon Russell Beale, a renowned stage and screen actor, performs with immense dexterity as the cold-blooded and cunning Lavrenti Beria, the monstrous head of the secret police. He seems like a wolf in sheep's clothing; his sinister grin and efficient calculating moves making him the early favourite in seizing power. He literally plans to take control of the situation through intimated schemes and calculated political advances.

On the other hand, Steve Buscemi, better known for his roles in dark comedies like Fargo, brilliantly takes on the role of Nikita Khrushchev. Buscemi's Khrushchev emanates an air of anxious intent, the tell-tale signs of someone on the sideline watching the gruesome game of power up close, awaiting his turn. He transforms from a joking figure to a cunning competitor for the throne as the plot progresses.

Jeffrey Tambor, another great actor known for his role in Transparent, plays the role of the clueless and meek Georgy Malenkov. His character is suddenly tossed into the position of General Secretary following Stalin's death. The portrayal of Malenkov by Tambor as a hesitant and trembling man, unsure of his new role's huge responsibility and desperately trying to fill the shoes of a dictator, gives the audience a refreshing, comical angle.

Surrounding these key figures, Andrea Riseborough and Rupert Friend play Stalin's distraught children, delivering their own solid performances that add more colour to the narrative. Watching the leaders manipulating these fearful children for political gain underscores the bleakly funny depiction of political machinations at play.

Throughout the film, the audience will discern a familiar sense of bureaucratic bungling reminiscent of Iannucci's famed creations "The Thick Of It" and "Veep". However, The Death of Stalin stakes are significantly higher, and the chaos more absurd. A particularly memorable scene is when the committee members try to move Stalin's body—it's hilariously orchestrated yet hauntingly grim.

The movie deliberately uses a mix of British and American accents, placing realism aside, but the approach doesn't diminish the impact of the narrative. Instead, it enhances the absurdity and humor, coming across as an almost farcical but chilling reminder of a time of great terror and political unrest.

Despite dealing with a grim and dark period of history, The Death of Stalin never lets humor take a backseat. Its greatest accomplishment might be that it shows the humor and horror of its milieu side-by-side, without compromising either.

The film does a marvellous job of keeping the audience engaged and entertained through disturbingly funny situations, even as it grapples with the terror of a dictatorship. It's a testament to the director's approach that the film manages to maintain the balance between light-hearted comedy and the grim realities of political machinations in arguably one of history's most unnerving dictatorships.

In conclusion, The Death of Stalin is a powerful dark comedy that delves into the chaos and absurdity of a historical political crisis. With an incredible cast led by Steve Buscemi, Simon Russell Beale, and Jeffrey Tambor who give formidable performances, the film becomes a chaotic ensemble piece that works perfectly within its context. This absorbing piece of cinema manages to bring humour and light into a dire political situation, making it a must-watch for both political and historical drama enthusiasts, and those who appreciate black comedy.