The Death of Stalin.

The Death of Stalin (amazon • iTunes) , the latest film from writer/director Armando Iannucci, is a rollicking farce that is only loosely based on the death of the dictator in question and the mad scramble for power in the vacuum that resulted, with Iannucci moving events and even people around to suit the story. It’s frequently funny in a face-palming sort of way, even when the story is more barely contained chaos than structured plot, and a reminder to me that I need to spend some time with Iannucci’s past and better-known work, including In the Loop and the HBO series Veep.

Stalin appears as a character early in the film, mostly so we can see the rest of the Central Committee playing obsequious Ed McMahons to his Johnny Carson, laughing at nonsensical jokes and trying hard to stay off of Stalin’s legendary enemies lists, people to be rounded up and exiled or, more likely, shot after torturing, with one of the Committee members appearing on the lists the night that Stalin takes ill. (His death is also fictionalized – he did die of a cerebral hemorrhage, but the proximate cause, in the film, is fictional and played for laughs.) After a brief bout of will-he-die-or-won’t-he, he finally kicks it, and the chess game to succeed him starts, except it’s chess as played mostly by people who’ve never played anything more than checkers, except for the scheming Nikita Khrushchev (Steve Buscemi) and the odious Lavrentiy Beria (Simon Russell Beale). The factions behind these two are fluid, often in a nearly literal sense as when the two sides try to squeeze past each other to be the first to offer emphatic condolences to Stalin’s daughter Svetlana (Andrea Riseborough).

Georgy Malenkov (Jeffrey Tambor) temporarily became the Soviet premier in Stalin’s death, but Khrushchev wrested much of the power away from him in the nine days afterwards, which roughly corresponds to the events shown in this film. Tambor plays him as a seasons 4/5 George Bluth with more of a temper, generally a step behind everyone else and thus easily outplayed by Khrushchev and Beria throughout the story. The fact that everyone seems to be operating at a different speed, often missing things right in front of their faces, provides much of the humor in the film and all of those face-palm moments, as one character says or does something that others completely miss or just fail to understand.

The second half of the film, where the real machinations start up, kicks in when the army arrives, led by Field Marshal Georgy Zhukov (Jason Isaacs, chewing scenery left and right), and Khrushchev cooks up his final scheme to wrest control of the Committee for himself by throwing Beria under the bus. From that point, the humor shifts from the almost slapstick, misunderstanding-driven comedy of the first half to a mixture of high- and lowbrow farce, from the game of telephone the leaders all play while standing around Stalin’s casket to the antics of Stalin’s drunken son Vasily (Rupert Friend).

There’s no point in this film where it’s not funny, which saves it from the fact that the plot is rather slapdash and doesn’t hew closely at all to real events. The dialogue never stops, and Iannucci isn’t afraid to mix some bathroom humor (about up to my tolerance for that stuff) in with political gags, notably in the Keystone Kops routine after Stalin’s unconscious but not-dead-yet body is first discovered. The framing of the film around a recorded concert and vengeful pianist doesn’t work well, and some of the other Committee members seem superfluous to both the plot and the comedy, although it was great to see Michael Palin (as Vyacheslav Molotov) on screen again.

The Death of Stalin isn’t a great movie, or a particularly sharp satire, but it is very funny, often with jokes that build on top of each other as scenes become increasingly absurd. (Buscemi’s dance around Tambor at the funeral is beyond description and wonderfully choreographed.) I laughed, often, and then forgot much of the plot once the film ended – and the incongruous if generally accurate ending does burst the comic bubble too. The humor is smart, but the rest of the story doesn’t back up the humor with anything of substance.