#The Death of Stalin (2017) Comedy

[sin-scape]

The Death of Stalin (2017)

Just watch it.

[cinemaocd]

Jenny's ongoing list of films watched 2024

February

January list, here.

Inland Empire (2006)*** It took three attempts to get through this long, confusing film. Like Mulholland Drive or the Season Three of Twin Peaks, Lynch films improve on repeat viewings even if meaning remains elusive. That is part of the joy-- sometimes you just vibe with it.

Death of Stalin (2017)**** One of my favorite films of the last two decades. A harried farce with the bloody-mindedness of Macbeth. Like the Scottish Play, we know how its going to come out, but the fun is in watching the articulate villain, played with delicious malice by Simon Russell Beale being outdone by a team of bumbling, petty bureaucrats and one very bad ass soldier. The Boyfriend (1970)*** Ken Russell's surreal tribute to the burlesque musical genre makes the most of its setting in the 1920s by putting his star Twiggy in iconic psychadelic reiterations of the flapper dress. If you opine the fact that drop waist dresses come back into style every 15 years or so, then this movie is as much to blame as anything. Poor Things (2023)*** Emma Stone gives a wild and convincing physical performance as Bella, a baby's brain in the body of her dead mother and Mark Ruffalo as typical 19th Century Rake Getting His Comeupance iscasting I didn't know I needed. I loved the yearning Godwin (Willem Defoe in truly amazing Frankenstein's monster makeup) and though I haven't read the book, I was drawn into the grotesque, ai generated world of the film. The aesthetics of this movie are as engrossing as the story and characters. Adventures of a Dentist (1965)** The Soviet version of the live action Disney comedies of the 70s, where a humble person is given magical power. Here a dentist is given extraordinary, almost magical abilities to perform dentistry without pain. He becomes a celebrity and his fall from grace involves him giving in to the decadent trappings of being a popular dentist. The humor has a darker edge than Disney though I wouldn't go so far as to call it a black comedy. Adolf Hitler: My Part in His Downfall (1973)** This Spike Milligan film plays like a double episode of Dad's Army, not least because of the presence of Arthur Lowe who plays practically the same character here as he does on the tv show. That is not the end of the world however and this is easy to like farce with Milligan's ascerbic, anti-authoritarian bent that is grittier than anything on the sitcom. The Master (2012)** I had high hopes for this, one of Phillip Seymour Hoffman's final films and his last collaboration with director Paul Thomas Anderson is loosely based on the origin story of Scientology. Joaquin Phoenix plays a shell shocked veteran who drifts into the path of the cult leader played by Hoffman. Amy Adams gives a chilling performance as his much younger, controlling wife who is the real power behind the cult. I think I would have an easier time with this film if Anderson hadn't gone around giving interviews saying that Scientology and it's founder L. Ron Hubbard had "helped a lot of people." Of course, this is PTA and Phoenix's character isn't helped at all and he makes the cult worse by being a violent enforcer for the leader's enemies. The levels of whitewashing involved in making a deeply misogynistic cult into a secret matriarchy is just...ugh. However, the homoerotic tension between Hoffman and Phoenix makes the film worth looking out. Murder of Quality (1991)** Made for TV adaptation of John Le Carre's second novel. Denholm Elliott plays Smiley as more doddering and anti-social than Alec Guinness' iconic version of the character. This early Smiley story is more a traditional English village murder mystery, ala Miss Marple, with Glenda Jackson playing Ailsa, Smiley's war buddy that runs a women's magazine. Christian Bale plays one of the students at an elite prep school that forms the economic backbone of the town. Le Carre is merciless in his portrayal of the toxic, petty characters, the wealthy and wannabe wealthy swamp dwellers who run rings around the local constabulary until Smilley steps in and withstands their slings and arrows long enough to solve the case.

The Private Life of Sherlock Holmes (1970)*** Sometimes you sit down to watch a movie with such low expectations that you are pleasantly surprised that it doesn't totally suck. The excitement of things not being as bad as you feared can blot out some of a movie's excesses. At the end of the day this is Billy Wilder, physically incapable of creating a boring movie throwing the whole bag of tricks at this faux biography of Holmes starring Robert Stephens and Colin Blakely. There's farce and physical comedy, verbal gymnastics and exotic locations. Holmes' possible homosexuality is tastefully hinted at and attempts to create a sensationalist account of his drug use, amount to little before the mystery gets rolling. One of the big delights is Christopher Lee as Mycroft whose scenes with Robert Stephens are bitchy queen pissing contests. Genevieve Page does a turn as a would be damsel in distress who turns out to be a worthy opponent to Holmes similar to Irene Adler.

Irma La Duce (1963)*** For some reason between this and Poor Things I ended up watching two movies about Parisian brothels this month. Billy Wilder based this pastiche of 1950s travelogue adventure films like To Catch a Thief and Charade on a French stage play. A strange attempt to weld the success of the Apartment with Some Like it Hot, reconfiguring a Marilyn Monroe vehicle as a reunion of Jack Lemmon and Shirley MacLaine. Like the Apartment, Irma LaDuce is tinged with melancholy while avoiding a lot of the cliches about sex work that wind up dating so many films on this topic. The main complaint I have about Irma LaDuce s that it's about 45 minutes too long, a common complaint about many films of this period. (Damn Lawrence of Arabia and all who sail in her).

Witness for the Prosecution (1982)*** A made for tv adaptation of the classic courtroom drama, which credits Billy Wilder's screenplay of his film version. Ralph Richardson and Deborah Kerr star in this remake and honestly their chemistry is just off the charts and we're left to wonder how they never managed to make a film together before. Wendy Hiller, Diana Rigg and Beau Bridges round out the amazing cast. Lacks the tension and edge of Wilder's film but I'm having too much fun with Ralph to care.

The Major and the Minor (1942)**: Billy Wilder's first film as writer and director has some of the hallmarks of his later, greater works: farce, trains, mistaken identity, and queer themes in the form of a lesbian coded sister of Ginger Roger's romantic rival. That all the fuss is about fairly bland Ray Milland is easy enough to overlook as Wilder makes the film about toying with Rogers image as sophisticated, sexy, dancer. Typical Wilder inside jokes about the film industry abound, such as a craze for Veronica Lake hairdos among the tween set and swipes at Hollywood actors like Charles Boyer Rogers' childish masquerade to avoid paying full adult fare is preceded by a series of calamities where she's pursued and objectified by a lot of nasty older men. Hoping to escape their advances as well as the ignominity of turnstyle jumping, she maintains the charade through a long weekend with a lot of handsy tween boys until Milland's fiancee is discredited as a controlling social climber. There is a bizarre side track into her home town where Rogers also impersonates her mother before revealing her grown adult self to Milland. No one ever accused Billy Wilder of being restrained I guess.

The Children's Hour (1961)**** This classic of queer cinema was necessarily a scorched earth tragedy at the time of its release. William Wyler's dreamy, restless camera drags you into the warm, cozy life of this female partnership between Shirley Maclaine and Audrey Hepburn that seemingly has the potential to be a romantic partnership. When nasty gossips and spoiled children start a rumor that they are a couple, the scandal destroys their business and standing in the community. Terrorized by the homophobic townspeople, they are eventually "cleared" of the crime of being gay for each other, just when Maclaine's character comes to the brutal realization that she really is in love with Audrey Hepburn's character. It's hard to watch her grief and shame as she admits that the bullies have discovered a truth about her that she didn't know herself. A fact so many queer people can find relatable. The film is based on a play by Lilian Hellman which used the topic of homosexuality to expose the cruelty of female narcissists who bully their way into power. There is much in common with Hellman's The Little Foxes in that way, but the film, perhaps owing to Wyler's inherent romanticism has more of a Romeo and Juliet quality than the play. One feels that Audrey Hepburn has perhaps realized the truth in the lie, just a few moments too late.

Sweet Charity (1969)*** Directed by Bob Fosse, starring Shirley MacLaine and Sammy Davis Jr and Chita Rivera this classic musical combines the best of Fossee's signature choreography, sixties pop show tunes and the psychadelic aesthetics of the late 60s. This and the Boyfriend have a lot in common, though I think the music in Sweet Charity is more solid and the contemporary setting makes it a tad edgier. MacLaine plays yet another flavor of sex worker, a dancehall hostess and paid companion who seeks to be elevated out of her life into respectability through marriage. The fiancee here is uptight and lacking in appeal and when he finally just flakes out in the final reel it's no great loss to the film.

Thief (1981)** Atypical heist film starring James Caan and Jim Belushi, directed by Miama Vice creator Michael Mann. You can see the beginnings of that iconic 80s TV show, in this movie which favors long scenes of action being edited to music with sparse dialog. Caan squares off against Tom Signorelli a local mob boss who dares to threaten Caan's wife played by Tuesday Weld.

[kinonostalgie]

Sir Michael Edward Palin KCMG CBE FRGS FRSGS FRSL (born 5 May 1943) is an English actor, comedian, writer, and television presenter. He was a member of the Monty Python comedy group. He received the BAFTA Fellowship in 2013 and was knighted by Queen Elizabeth II in 2019.

Palin started in television working on programmes including the Ken Dodd Show, The Frost Report, and Do Not Adjust Your Set. Palin joined Monty Python's Flying Circus (1969–1974) alongside John Cleese, Eric Idle, Terry Gilliam, Terry Jones, and Graham Chapman. He acted in some of the most famous Python sketches, including "Argument Clinic", "Dead Parrot sketch", "The Lumberjack Song", "The Spanish Inquisition", "Bicycle Repair Man" and "The Fish-Slapping Dance". Palin continued to work with Jones away from Python, co-writing Ripping Yarns.

Palin co-wrote and starred in Monty Python and the Holy Grail (1975), Life of Brian (1979) and The Meaning of Life (1983). For his performance in A Fish Called Wanda (1988) he received the BAFTA Award for Best Actor in a Supporting Role.[7][8] Other notable films include Jabberwocky (1977), Time Bandits (1981), The Missionary (1982), A Private Function (1984), Brazil (1985), Fierce Creatures (1997), and The Death of Stalin (2017).

Since 1980, Palin has made numerous television travel documentaries, and is a widely recognised writer and presenter. He has acted as a travel writer and travel documentarian in programmes broadcast on the BBC. His journeys have taken him across the world, including the North and South Poles, the Sahara, the Himalayas, Eastern Europe, and Brazil; in 2018, he visited North Korea, documenting his visit to the isolated country in a series broadcast on Channel 5. From 2009 to 2012 he was President of the Royal Geographical Society.Sir Michael Edward Palin KCMG CBE FRGS FRSGS FRSL (born 5 May 1943) is an English actor, comedian, writer, and television presenter. He was a member of the Monty Python comedy group. He received the BAFTA Fellowship in 2013 and was knighted by Queen Elizabeth II in 2019.

[cantsayidont]

March–April 2024. A very strange, frequently tasteless, mostly inexplicable black comedy political satire from the creator of SUCCESSION — though more strongly reminiscent, presumably on purpose, of the 2017 THE DEATH OF STALIN — THE REGIME is a six-part miniseries starring a self-consciously frumpy-looking, outrageously hammy Kate Winslet as Elena Vernham, the egomaniacal authoritarian chancellor of an unnamed Ruritanian state somewhere in Central Europe.

As her hapless husband (Guillaume Gallienne) and self-dealing underlings tiptoe around her growing list of neuroses and increasingly erratic mood swings, a soldier named Herbert Zubak (Matthias Schoenaerts), notorious for his role in a brutal massacre of striking mine workers, is recruited to play a hard-to-define, ever-shifting supporting role in Elena's ongoing psychological breakdown and various political confrontations.

Winslet seems to have been having fun, although she overacts shamelessly, and what accent she thinks she's doing seems to vary from moment to moment; the median could best be described as "Margaret Thatcher, very tipsy, trying to pretend she's not sucking on an Everlasting Gobstopper." Schoenaerts, for reasons that are never clear, plays Zubak like a punch-drunk boxer trying to walk off a life-threatening concussion, leaving his character a perplexing cipher throughout.

Like THE DEATH OF STALIN (which I thought wildly overrated), THE REGIME is more often crass and uncomfortable than actually funny, and its smug misogyny would be offensive if taken seriously (which is admittedly very difficult). Also, given the current state of the UK, watching the largely British cast mock the political instability of a fictitious "Middle European" autocracy causes some seasickness. (Whistling past the graveyard, perhaps, but still.) CONTAINS LESBIANS? No! VERDICT: Much more "funny strange" than "funny ha-ha," and because it's basically a one-note joke, it becomes like one of those terrible SNL skits that just won't end.

[commonguttersnipe]

Someone to me: Ooh do you like period dramas?

Me: oh yea yeah, I'm currently into rn!

Someone to me: OOH that's great! What's your favourite period drama?

Me: *Currently only thinking of the period dramas/comedy-dramas I've watched* starring Michael Palin, like The Missionary (1982), American Friends (1991), Vanity Fair (2018), Death of Stalin (2017), The Wiper Times (2013), etc cuz I'm a Python/Michael Palin fan*

Also Me: uhhhhh........yeah?

(*tbhf, I've gotta actually watch the other MP period dramas since I've heard they're pretty good, as I only watched Vanity Fair (2018)!)

I recommend Mary Shelley’s Frankenstein!

[satireinfo]

The Death of Stalin (2017)

Lecture Notes by Alan Nafzger: Satire in “The Death of Stalin” (2017) Introduction: “The Death of Stalin,” directed by Armando Iannucci, is a dark comedy that satirizes the power struggles and political machinations that ensued following the death of Soviet dictator Joseph Stalin in 1953. Released in 2017, the film offers a scathing critique of authoritarianism, bureaucracy, and the cult of…

[devilgate]

The Death of Stalin, 2017 - ★★

It's a comedy, but I have to say, I find very little humour in it. Especially not the first half.

Certainly there's farce: moving Stalin's body around, all that. But the terror, the killings, the torture, the rape: none of it shown, exactly, but all right there in front of you. It's mostly just too fucking serious for me to laugh at it.

[memoriafilmica]

The Death of Stalin.

(2017) Armando Iannucci.

[medievalin]

THE DEATH OF STALIN ( 2017 ) Dir. Armando Iannucci.

[ruleof3bobby]

THE DEATH OF STALIN (2017) Grade: B

Might turn it off after 15 minutes or might be quoting it over lunch the next day. Some lines at laughed my ass off. Personally, I thought Jeffrey Tambor had me laughing the most. 

[catherinexlinton]

death of stalin is the only comedy that made me laugh for a long, long while and it says a lot about my mental state.

[thegirlwhorunsforthetrain]

The Death of Stalin (2017)

The Death of Stalin (2017)

Following the death of Soviet dictator Joseph Vissarionovich Stalin (Adrian McLoughlin), the members of the Council of Ministers scramble for power.

(more…)

[pigballoon]

The Death of Stalin

(Armando Iannucci, 2017)

Though marketed as a riotous comedy very much in the style of Armando Iannucci's small screen work, the primary thing to note about The Death of Stalin is that it is, as you would have to expect from a piece of work based on not too distant and all too horrific history, full of unfiltered moments of serious darkness.

Even so many of the scenes steeped in comedy (and to be sure, they are the majority) have a sense of serious terror hanging over them. It is a film that takes most of its momentum from the sheer absurdity of the scenarios it presents (many of which are apparently true) but never loses sight of the fact that it is ultimately the literal chronicling of things that seriously happened to people who might still be living, and that cannot be taken as lightly as your standard episode of Veep.

Still, as on said HBO spectacular, it's creator is aided as greatly as he always is by his rogues gallery of perfectly cast oddballs. Here the large and starry ensemble all bring their best, and prove one of the films major highlights. One of its funniest aspects is their generally absurd variety, the inherent and unshakeable comedy that comes from seeing Joe Stalin with a cockney accent, born out of Simon Russell Beale (probably the highlight of the whole film, truly terrifying) sparring with Jeffrey Tambor, Steve Buscemi squaring off with Jason Isaacs (doing a Yorkshire accent, because it’s funnier). 

You have Andrea Riseborough and Rupert Friend getting to show comedic chops most of us probably never knew they had. In on the act are comic legends from other eras, and other spheres, Paul Whitehouse and (bringing a touch of the Brazil’s, a strong influence) Michael Palin not able to turn down material this good, and Paddy Considine makes the most of his opening act too. In fact the only one really wasted is the only actual significant name from Soviet territory in the cast, Olga Kurylenko saddled with the job of the straight lady in her handful of scenes, yet it works because it’s all part of the sobering act in the midst of the comic mayhem. 

They all do a tremendous job in mining both the comic and the dramatic out of this material, in making it work both as absurdist farce, and dark historical drama. It’s not an easy balance to get right, but it’s not a million miles outside Iannucci’s comfort zone, it very much feels like his work... Just weightier.

It's sort of baffling how this material has never been comprehensively captured in English language cinema, it's tremendous stuff, perfect for Iannucci's sensibilities, and whether intentionally or not, perfect for the times we're living in. There isn’t really too much more that you can say about the film, Terry Gilliam’s Brazil is definitely one of its closest cinematic cousins, which is highest praise indeed, both movies are utterly insane in terms of tone, both grounded in some form of reality (this obviously much more so) both torturing you internally with their dark truths even as they prove to be triumphant times at the movies.

[distort-opia]

This is really unrelated to Batman (unless it happens to be), but do you have any favorite films? I’m curious if there are any movies you like and recommend that are from Europe (or anywhere else, too!). Also I hope that you’re having a good day or night ♥️ stay safe

Hm. Well, I do recommend Cristian Mungiu's films -- he's a great Romanian director, who made Beyond the Hills (2012) and Graduation (2016), which you might've heard of if you're a cinephile. They're not necessarily favorite movies of mine, but they are worth watching.

Otherwise, from the European non-British realm, I do love Ingmar Bergman's movies. Autumn Sonata, Winter Light, Through a Glass Darkly... And that sets the tone for my favorite type of movie, tbh. Undisputable favorites, or movies I've watched more than once, are definitely Thoroughbreds (2017), Alien: Covenant (2017), Gone Girl (2013)... and I do love the John Wick saga, especially the first movie. Personal favorites of mine also include Arrival (2016), A Ghost Story (2013), In Bruges (2008), Enemy (2013), Mother! (2017), The Invitation (2015), Inception (2010), Relic (2020)... My favorite genre tends to be fucked up philosophical depressing movies, tbh. Throw a dark murderous dynamic at me, some existential horror and or/sorrow, or philosophical sci-fi... hell, or plain dark absurdist humor, and I'll probably like it. (A24 movies, my beloved.) The Death of Stalin (2017) is a perfect example of a great dark, well-written comedy. Though ngl, I also have films that are just dumb fun that I love a lot, like 21 Jump Street (2012), Snatch (2000), Sherlock Holmes (2009), The Man From U.N.C.L.E. (2015)... Guy Ritchie's brand of film-making is always entertaining to me. And Wes Anderson's, I guess, since I greatly enjoyed The Grand Budapest Hotel (2014) and recommend that too.

It's tough to pick favorites, damn. I've seen a lot of movies I thought were good, the list is long. Anyway, if you watch any of these (that you haven't seen already) I hope you enjoy! Thank you for the ask and the interest. Take care, and stay safe too! <3

[nonsensegnomes]

bestie what are your top nine favorite movies atm

oooh good question <3 well like i said i'm discovering i've covered way more ground in tv over the last few years (which i'm gonna rectify soooooonnnnnn i think, got a lot of exciting recs from that recent tag game!!) so this is pitifully basic, but like in terms of what i'm thinking about Right This Moment:

the hitcher – slightly deranged about this ever since i saw it last week, a movie perfectly tuned to my preferences <3 love love LOVE the main performances & the dreamy atmosphere & the cinematography; just! the americana of it all!! plus there is soooo much to dig into, like the folkloric resonances (i mean the vanishing hitchhiker story HELLO), the gay panic (as in the actual original homophobic meaning) every shot of the first half hour is just LACED with, that scene where he puts the coins over his eyes in the diner.... obsessssssssssed.

the black phone – okay so i watched this last night & it might fade from the faves over the next few days but rn i can't stop Picking at it. genuinely Disturbed me a couple times so 🙈👍 ethan hawke ATE, the little girl playing the sister KILLED it, and my friend pj should've had more screentime so the sets of siblings could parallel each other or something but wcyd ¯\_(ツ)_/¯ i am a little I Can Fix It about some of its clunkier plot points, but the main conceit of the phone fucked soooooo hard i can forgive it 💖

it 2017 – listen. i have been feeling this rewatch approaching all summer & as soon as i get my grubby hands on a projector (as god intended this movie to be watched <3), august is going to be thee month for it!!! idk it just has a very dear place in my heart 💕 like everyone else i did have a 2019 breakdown despite its many Many flaws, but the first one remains That Bitch w/ the perfect pacing & ending... coming of age film that just happens to have a clown in it babey!! also always going to care about eddie kaspbrak unfortunately 😔

nausicaä of the valley of the wind – my fave ghibli movie!! What Is There To Say. it was the first one i saw before i was aware everyone went insane about like hmc & princess monoke (which i also adore!!), so at first i was just Captivated by the animation genius & the Weirdness & the design of those bugs... it just plucks at something in me, like this is PRECISELY the kind of post-apocalyptic story i can enjoy, like what a coherent & hopeful environmental message that's, well, not subtle but certainly managed with a very deft touch!!!

fight club – sorry for being a film bro :/ anyway go look at this important piece of LGBT history

the death of stalin – love a comedy where everything falls apart around & also due to a bunch flailing back-stabbing incompetent idiots, so of course an armando iannucci joint always hits the spot <3 just SUCH alarming pettiness & cruelty that you have to laugh in the face of it ohhhh my godddddd

southern comfort – okay so kinda cheating with this docu, but it just impacted me sooooooo deeply the first time i saw it & i still go back and rewatch every once in a while. despite how sad it gets at the end, it actually is one of those things that gives me Real hope bc the whole thing is just about love & community & the radical Comfort transness allows you to find in yourself 💕💕💞💖 i would definitely rec it to absolutely everyone, it's only 90 mins & absolutely Life-Changing; i think there was a clip going round here a while ago about how affirming t4t love can be, and imo that just sums up the whole vibe. rest in power robert eads ✊😔

fire walk with me – well this is my favourite movie of all time despite the fact that i can NEVER ever watch it again ✌️ like i am well aware that it is technically kinda all over the place, what with david seeing fit to make the first half hour just "fbi procedural david bowie cameo now THIS character says something ominous & incomprehensible" but also. i Do Not Care bc the next hour + a half made me cry so hard it took me like 5 hrs to watch it; jesus CHRIST she was just a kid who needed someone to reach out and help her!!! laura i would have done so much cocaine with you & kept you alive forever!!!!!! also lynch's weird cryptic storytelling just appeals to me personally bc the way the meaning comes more from the audience's emotional response makes it kinda work on the same level as a folk tale for me, which i loveeeeeeeeeee unpicking; saw a post once about fwwm being structured like the saint's life of a martyr and !!! that is exactly It!

stardust – an all-time favourite, i mean the costumes! the pacing! the fun twists on fantasy tropes! the sheer CAMPINESS of it all!!! the way the plotlines converge in the end WOWED me as a child and to this day every time i watch another fantasy movie i'm like. Well You're Not Stardust Are You :/

& honourable mention to those films always occupying some part of my brain, that i can mouth along with from memory just because they are so comforting to me: tsn, the princess bride, 10 things i hate about you, pride 2014, bend it like beckham, saw (this nearly made the main list but like. too obvious.), the parent trap (1998 version), the karate kid