Barker has admitted that The Simpsons’ “Treehouse of Horror” series directly inspired Obsession, specifically a season 3 segment in which Homer gets a monkey paw. However, Bear’s poor wish-making decision isn’t positioned as a cautionary tale, and the character is never let off the hook for wanting to exert control over a woman’s emotions. This is a depiction of a man who lacks the self-awareness to comprehend his domineering, misogynistic impulses, but it’s not an overbearing commentary on toxic masculinity, as Barker keeps any social views firmly in the background so the protagonist can gradually become aware of the havoc he’s created on his own terms. Bear isn’t given the chance to atone for his sins, and everybody in his orbit suffers a fallout from the emotional torture he unleashes. With a protagonist like that, Barker more than earns the right to succumb to his most mean-spirited impulses.
Russia in the early 1990s is a fascinating and mysterious place. The entire country essentially was transformed overnight with the fall of the Soviet Union, followed by several years of trying to figure out what kind of a nation they’d become. We now know the direction Russia ultimately took, of course, but the behind the scenes machinations are ready made for cinematic treatment. So, a film like The Wizard of the Kremlin, while decidedly a throwback sort of work, very much scratches that itch. The movie has elements that hit and elements that miss, but a couple of strong performances ultimately rule the day.
The Wizard of the Kremlin arguably could have been made into a compelling miniseries, but going about it as a film does keep things from sprawling out too widely. Now, the pacing is lax and the running time is a bit bloated, but the core of what makes this flick interesting is consistently in evidence. It’s a work that now seems like a throwback, though the issues it’s tackling are very much still on our minds today.
Vertical EntertainmentAfter we set up the framing device of a writer (Jeffrey Wright) speaking to our protagonist, we officially meet Vadim Baranov (Paul Dano), a former avant-garde theater director and reality television producer that will grow to be a shadowy figure in government. In the early 90s, Russia had Boris Yeltsin in charge, so ineffective and drunk that he’s literally propped up for speeches. When oligarch Boris Berezovsky (Will Keen) assembles the Unity party, a group of the wealthy elite hoping to find a figurehead to replace Yeltsin. Berezovsky recruits Baranov to help, and they settle on Vladimir Vladimirovich Putin (Jude Law), the director of the Federal Security Service. He seems happy as a spy and skeptical of politics, but with only a time bit of convincing, he’s set to become Prime Minister.
Soon, Prime Minister becomes President when Yeltsin resigns. With Putin now elevated to power, the changes come hot and heavy. In short order, any hope of Russia becoming like the west goes away, reduced to a fearful gangster state. As Barnov becomes the right hand man of Putin, he’s conflicted about what he’s seeing, all the more so when he rekindles a relationship with Ksenia (Alicia Vikander), a woman from his younger days who gives him a potential way out.
Vertical EntertainmentPaul Dano and Jude Law are both quite good, with the former getting a rare leading role, while the latter gives layers to what could have been a caricature. Dano also takes his fictionalized character and adds the complexity that never makes him feel out of place. It would be easy to have Baranov seem like a writer’s creation, though Dano allows him to fit in. You see the moments where he has doubts about you believe Dano, too. Law doesn’t show up until almost halfway through, and once he’s on screen, he’s effectively unsettling. He doesn’t play him as a monster, even as he does awful things, but he plays him so convinced of his own authority that it’s deeply creepy. Alicia Vikander is solid, though a bit wasted, while Jeffrey Wright has almost nothing to do. In addition to Will Keen, supporting players include Tom Sturridge, amongst others.
Filmmaker Olivier Assayas directs while co-writing with Emmanuel Carrère, and it’s an effort that should get him more consistent English language work if he wants it. While not on the level of a Clouds of Sils Maria or a Personal Shopper, his European sensibilities pair well with this look at Russian dealings. Now, Assayas does let things run long, as this goes far past the two hour mark, while some elements of the story are more interesting than others. Assayas and Carrère never figure out what to do with Wright’s character, either, so he feels superfluous. However, as a fly on the wall, watching as Dano’s character puppeteers it all, it’s never less than compelling.
The Wizard of the Kremlin would have been an Oscar hopeful two decades ago, when this type of flick was awards bait. Now, it stands as a bit of an odd duck, though even with that, it’s a compelling film with some strong acting contained within. Could it have been better? Sure. Could it have been a lot worse? Absolutely.
SCORE: ★★★
