BY ROGER WATSON
Based on a best-selling debut novel by Giuliano da Empoli and originally published in French (as Le mage du Kremlin), The Wizard of The Kremlin (2026) is a ‘factional’ account of the demise of Boris Yeltsin and the entry of Vladimir Putin onto the political scene in post-Soviet Russia. It was not well received by the critics. Described as ‘exasperatingly laborious’ in The Guardian, it scored 44% on Rotten Tomatoes but 56% on the Popcornmeter. I think the latter rating, which is by filmgoers rather than film critics, is nearer the mark. It is also accurate, however, that the film is a slow burn in places.
The story is told through the eyes of Vadim Baranov (Paul Dano), whose character is closely representative of Kremlin spin doctor Vladislav Surkov. We trace Baranov’s life from the point of selling electrical goods in the early post-Soviet years, through his decision to enter the world of theatre, and into television. We are exposed to much of the decadence that the fall of the Berlin Wall and the dismantling of the Soviet Union engendered.
Baranov encounters Boris Berezovsky (Will Keen) – a real person, an entrepreneur and television executive. Baranov is taken under his wing and becomes very good at his job in television. Boris Yeltsin, who descended into alcoholism while in office as Russian Prime Minister, is in severely failing health. While he intends to run for office again, he is becoming an embarrassment. Berezovsky decides that former KGB head – still in office with its successor organisation, the FSB (Federal Security Service) – Vladimir Putin (Jude Law), is the man to replace Yeltsin. He enlists Baranov to his cause.
Together, they persuade Putin – who is portrayed as being reluctant and inexperienced at public speaking – to run for Prime Minister. Yeltsin, who is unfit for office, appoints Putin as acting Prime Minister in 1999, and the rest is a matter of record. Putin wins the election easily and… guess what… he is still there. Somewhere along the line, the pupil becomes the master, as Baranov becomes Putin’s chief spin doctor and Berezovsky falls out of favour.
The story is told using the device of an interview with Baranov following his time at the Kremlin. A journalist, Lawrence Rowland (Jeffrey Wright), has written an article in a leading international affairs journal reflecting on the early years of Putin’s time in office and Baranov’s role in maintaining him there and doing his bidding. Baranov has read the article, and the two meet at Baranov’s country residence. When Rowland challenges Baranov about particular points in the story, Baranov reflects, and we are taken back to the events as they unfold.
The film is far from gripping but manages to be intriguing enough to make you want to keep watching. The story includes the overthrow of the elected President Viktor Yanukovych in Ukraine and the subsequent invasion by Russia. Some heated exchanges ensue between Rowland and Baranov. The latter mounts a good defence of the reasons for Russia’s invasion, using whataboutery to question United States involvement in the downfall of Yanukovych.
It is hard not to have some sympathy for the iron grip with which Putin has run Russia since his election. He saw his beloved country falling into Western-style excesses and being demoted as a world power. He visits the United Nations in New York at one point, and on the return flight he has an outburst about the arrogance of the Americans who, he says, think they defeated Russia. He maintains that Russia was master of its own destiny.
Baranov provides Rowland with insights into some of the famous events surrounding Putin. He is portrayed as being responsible for enlisting the motorcycle gangs with whom Putin was seen riding, along with communists, skinheads and hippies, in supporting Putin. The disappearance and deaths of some notable opponents are not covered in the film, but Putin refers to how Stalin’s popularity rose when he shot rather than tolerated dissidents. Enough said.
An odd, and slightly irritating, aspect of the film – also picked up in the BFI review – was the inconsistent use of accents. Baranov, who is American, uses a quasi-Russian accent, and most minions and love interests (there are a few) are portrayed with Russian accents. However, Law (Putin) and Keen (Berezovsky) are permitted to speak in Estuary English. It is distracting, to say the least.
The film ends abruptly, but no spoilers here. As a work of art, this film is much more journey than destination. As an historical drama, it is thought-provoking and left me wondering: ‘after Putin, what next?’.
Roger Watson is a Former Registered Nurse and Editor-in-Chief of Nurse Education in Practice.