{"id":45,"date":"2026-05-19T22:37:10","date_gmt":"2026-05-19T22:37:10","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=45"},"modified":"2026-05-19T22:37:10","modified_gmt":"2026-05-19T22:37:10","slug":"the-hollow-trickery-of-the-wizard-of-the-kremlin","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=45","title":{"rendered":"The Hollow Trickery of \u201cThe Wizard of the Kremlin\u201d"},"content":{"rendered":"<div>\n<div>\n<div>\n<div>\n<div>\n<p>Even when applied with the best of intentions, labels can be confusing. At the start of Olivier Assayas\u2019s \u201cThe Wizard of the Kremlin,\u201d a title card declares that, though the film is adapted from a novel of the same name, by Giuliano da Empoli, and is based on historical events, \u201cit remains an original work of fiction with artistic intent. The characters, as well as their statements and opinions, are fictional.\u201d When the action begins, the point seems clear enough: a fictitious Yale professor named Lawrence Rowland (Jeffrey Wright) reminisces about a 2019 visit to Russia to the country estate of one Vadim Baranov (Paul Dano), a former political strategist then living in luxurious isolation with his young daughter. Lawrence had written an article about Vadim, and Vadim, who respects Lawrence as a scholar, now wants to tell him his life story. So far so fictional. Vadim begins by recounting his youth as the privileged son of a Soviet-era official who was cast aside under the liberalizing Gorbachev regime; the reversal of fortune roused the young Vadim to make the most of his life. As Vadim speaks, events unfold onscreen in flashbacks: after a stint of odd jobs like selling foreign electronic goods, he became a theatre director and frequented Moscow\u2019s hipster scene. He began a relationship with a rock singer and punk provocateur named Ksenia (Alicia Vikander) who then left him for a rich young businessman (Tom Sturridge). Vadim traded his artistic calling for a flashy job in a privatized TV station and was then tapped for a political consultancy by the oligarch Boris Berezovsky (Will Keen)\u2014halt!<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=43\">Kentucky Primary-Elections Map: Live Results<\/a><\/p>\n<p>Anyone who\u2019s been reading the news in the past few decades knows that Berezovsky is no fictional character but a real-life Russian oligarch who fell out with Vladimir Putin and then was found dead, in Berkshire, in 2013, ostensibly from suicide. (A coroner\u2019s inquest was inconclusive.) The movie, which Assayas co-wrote with Emmanuel Carr\u00e8re, tells the story of how Berezovsky recruited Vadim as a behind-the-scenes fixer to launch Putin (Jude Law) into politics as the designated successor of the older and ailing Boris Yeltsin (George Sogis). Once in office, Putin installed Vadim as an adviser to help consolidate his administration into an autocracy responsible for the suppression of civil liberties, for wars in Chechnya and Ukraine, and for a campaign of disinformation and interference in Western democracies. The movie is filled with other real-life figures, including Garry Kasparov (Dmitryi Turchaninov) and Eduard Limonov (Magne-H\u00e5vard Brekke), Igor Sechin (Andrei Zayats) and Yevgeny Prigozhin (Andris Kei\u0161s). As for Vadim, he\u2019s based on the real-life Putin adviser Vladislav Surkov. Assayas makes a point of foregrounding the fictionalization of his characters. Paradoxically, though, the freedom granted by that premise is used, in the movie, not to amplify the historical record but to distract from it.<\/p>\n<div><\/div>\n<p>The thematic core of \u201cThe Wizard of the Kremlin\u201d is the shifting connection between appearances and realities, between what\u2019s to be done and how it\u2019s spun. When Putin plots war against Chechnya, Vadim warns him off the conflict as a quagmire and a potential disaster, but Putin worries neither about the outcome nor about the impression it will leave: he\u2019s planning a campaign of ruthless brutality and has no intention of waging \u201ca humane war, like the Americans do.\u201d Above all, Putin favors big shows of Russian dignity and power. Vadim learns from this mentality: when Russia unleashes internet interference against Western democracies, under a program led by Prigozhin, Vadim assures him of the benefit of doing so openly and not hiding Russia\u2019s traces: \u201cAnything that makes you seem strong actually increases that strength.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>Despite such philosophizing, \u201cThe Wizard of the Kremlin\u201d can only superficially be called a movie of ideas; it\u2019s a movie of strategies rather than of ideologies, of how power is used rather than why. Assayas takes a cynical and clich\u00e9d view regarding temptation and corruption, worldly rewards of security and pleasure, even ego and pride, while having nothing to say about the transformations envisioned or the values embodied in the exercise of political authority. In a way, this void is built into the movie\u2019s very setup: nearly the entire film is an illustration of Vadim\u2019s narration to Lawrence, his self-portrayal to a researcher who will in turn convey it to the world. The story takes Vadim at his word. Just as Adolf Eichmann and Albert Speer portrayed themselves not as true believers but as mere functionaries, so Vadim presents himself to Lawrence as a master of method, not of principle. What\u2019s more, \u201cThe Wizard of the Kremlin\u201d does the same for the character of Putin as described by Vadim. It\u2019s hard to imagine Assayas bothering to make a two-and-a-quarter-hour feature just to show engineers of atrocities concealing their motives. Then again, the title card doesn\u2019t promise anything more, or better: if fictionalization is the point, then Assayas should have gone all the way and flaunted the movie\u2019s inventions.<\/p>\n<p>While watching \u201cThe Wizard of the Kremlin,\u201d I found myself thinking wistfully of James N. Kienitz Wilkins\u2019s recently released film \u201cThe Misconceived,\u201d which he made by means of motion-capture technology and animated with video-game software, yielding a cast of realistic-looking people except for one, a young man who\u2019s a cartoon character and reminds me of a Keebler elf. There\u2019s unintentional comedy in the earnest impersonations that Assayas\u2019s movie relies on, and it would have been improved by a similarly overt embrace of its absurdities. If Assayas had Wilkins\u2019s imagination he might have forthrightly distinguished historical characters from made-up ones, rendering the titular wizard in overtly artificial form. As is, Assayas\u2019s ambiguous fictionalization brings to mind Ali Abbasi\u2019s 2024 film \u201cThe Apprentice,\u201d a bio-pic of Donald Trump that depoliticized the character and made his moral failings strictly personal. What both movies miss are extremes of authentic political critique\u2014or of blatant mockery.<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=41\">Drake Would Like to Settle the Score<\/a><\/p>\n<p>One of the prime themes of \u201cThe Wizard of the Kremlin\u201d is the relative ease with which the public can be manipulated. There\u2019s little gap, the movie suggests, between Vadim\u2019s youthful ambitions in the theatre and his later maneuvers in statecraft (which he considers merely \u201ca game\u201d but also \u201cthe only game worth playing\u201d). Yet a truly political movie about the wizard and the beneficiary of his wizardry would have had to break the frame of Vadim\u2019s calculated confession to Lawrence, getting outside the bubble of executive power to the people whom it acts upon. Assayas portrays the Russian populace as merely manipulated, as if voters were blank slates for effective propaganda rather than people with moral compasses, capacities for judgment and humanity, ideas and opinions that demagogues recognize and stoke.<\/p>\n<p>The movie only hints at the underlying social tendencies that a populist exploits. Vadim theorizes that there are two dimensions to society, the \u201chorizontal\u201d of daily life and the \u201cvertical\u201d of authority; the freed-up Russia of the post-Soviet era offers the former but not the latter, he contends, and Putin\u2019s candidacy can succeed by providing the missing sense of top-down order. Once Putin does take power, he schemes to make use of the same \u201cfury\u201d that, he asserts, made Russians in fact love Stalin\u2019s cruelty. There\u2019s not a word about ideology, about political principles, about what sort of society the new regime is meant to deliver. The only doctrine is delivered by Berezovsky, who, in posh but fretful exile in the south of France, complains to Vadim about what Putin has done: \u201cWe managed to build a free country\u00a0.\u00a0.\u00a0. for the first time in Russian history, and you have wrecked all that in just a few years. You turned Russia back into what it always was: a prison the size of a country, just like in the Soviet times.\u201d The movie thus offers a complaint about the end results of Putinism, not about the ideas\u2014the emotions, the enthusiasms, the resentments, the hatreds\u2014that brought it about. As such, \u201cThe Wizard of the Kremlin\u201d is a movie of political passivity, delivering blandly detached observations to be rued from the comfort of a seat in a theatre.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>Assayas offers anecdotes, a feuilleton of tyranny in which the foibles of the mighty and the ruthless reveal the sentimental side of cruelty, the amusement value of ugly deeds, and the polite side of monstrous ideas. Instead of looking behind the scenes at cloistered men of power saying the quiet part out loud, Assayas\u2019s glossily refined vision never shows them voicing their ideas at all. That failure is as much a problem of form as of substance, because to break out of the apolitical bubble of personalities is also to break out of the iridescent bubble of elegant narrative. Assayas is, above all, an urbane filmmaker, with no room for discourse so crude or interruption so abrupt as to let the winds of history waft through his film unperfumed. As ever, politics and morality alike are at the heart of cinematic form. Assayas\u2019s aesthetic is too genteel to even imagine the specifics of loathsome doctrines. The movie fails politically to make clear what democracy is up against, and it fails artistically to imagine the unimaginable and give voice to the unspeakable.\u00a0\u2666<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=39\">Mary Todd Lincoln Has Long Been Derided. Is Her Reputation Salvageable?<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Richard Brody on Olivier Assayas\u2019s film \u201cThe Wizard of the Kremlin,\u201d starring Paul Dano, about an adviser to Vladimir Putin.<\/p>\n","protected":false},"author":1,"featured_media":44,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-45","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-front-row"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Hollow Trickery of \u201cThe Wizard of the Kremlin\u201d - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=45\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Hollow Trickery of \u201cThe Wizard of the Kremlin\u201d - 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