THE INNER CIRCLE
US/Russia, 1991, 137 minutes, Colour.
Tom Hulce, Lolita Davidovich, Bob Hoskins, Aleksandr Zbruev, Feodor Chaliapin Jr.
Directed by Andrey Konchalovskiy.
This film is based on the true story of Ivan Sanshin, who was a KGB officer, but who served as the private film projectionist for Stalin from the end of the 1930s until Stalin’s death in 1953.
The film shows the utter loyalty of Russians at the period, a social brainwashing, and a loyalty to Stalin, putting him on a pedestal. In the meantime, in the background, there was a great deal of oppression, especially by the KGB and sending prisoners to the gulags.
Tom Hulce, excellent as Amadeus as well as in such films as Parenthood and Dominick and Eugene, plays Ivan Sanshin. Lolita Davidovich plays his loyal wife. Bob Hoskins plays the head of the KGB, Beria. The film was co-written and directed by Andrey Konchalovskiy, the older brother of celebrated Russian writer-director, Nikita Mikhalkov. Konchalovskiy had a successful career in Russia but moved to making films in the United States in 1984 with Maria’s Lovers. He directed some conventional films, Homer and Eddie, with Whoopi Goldberg as well as the Sylvester Stallone-Kurt? Russell actioner, Tango and Cash. After The Inner Circle he returned to Russian film-making, making comparatively few films after this.
The film is interesting in its presentation of life in Russia and the Soviet Union during the 1940s and 50s.
1. The work of Andrey Konchalovskiy, writer-director? His work in Russia? In the West?
2. The recreation of period, the city of Moscow, the atmosphere of World War Two, post-world war? The musical score?
3. The title, its irony?
4. A reinterpretation of Russian history, of the Stalinist era? Audience judgment on Stalin and the repression? Life in the Soviet Union? The living of communist ideals?
5. The focus on Ivan, the flashbacks and his voice-over? His perspective? His loyalty, changes in attitude?
6. Ivan in himself, a touch naive, his work, the burning, the soldiers? His marriage, drab life, the loyalty of his wife, the role of the neighbours, the celebration? Arrest? The head-bashing? The child, fear? His being caught? Stalin, his love for movies, the relief of having the job?
7. Ivan and his skills, knowing machines? The issue of the steel pin? Stalin watching The Great Waltz? The officers and their presence in the film screenings? His meeting Stalin, seeing him as the successor of the tsars? The officers’ mess, the seats, the choices? Talking with Beria?
8. Ivan’s wife, the marriage, their life, in the drab apartment, the wedding, fears? The girl, the visit and the washing, ousted, the danger? The joke and Ivan upset? The new room? His not believing it, wanting the child, his being pleasant to the professor? Anastasia and the affair with Beria? Her going into decline?
9. Ivan, promotions, the new house, money, the professor, the children? The abuse of Anastasia? His change of attitude?
10. The portrait of Stalin, people in awe of him, his luxury life, the movies, his staff? Beria and his power? Hitler and the war, issues of peace? The waging of the war? The bombings? Stalin and his staff moving? Train and the work? Stalin staying, walking the city?
11. Ivan on the train, his return, knowing the truth? The hurt, the professor, the letters? His return, the dilemma? The baby, ambiguous talk?
12. Anastasia and Beria, their characters, the nature of the affair, the effect, the passing of time? Anastasia and the effect on her? The return, her pain, her death? Whom did she love more? The note and the girl?
13. Ivan and his grief? Yet still maintaining Stalin’s vision?
14. Ivan, growing older? His work, life in post-war Russia?
15. The character of the professor, his life, his work? The character of Katya, at ten years, at sixteen years?
16. An insight into Russia, the Soviet Union, the repression – and the film made just at the moment that the Soviet Union was breaking up, the end of communism?
