The Death of Stalin is a black comedy that perfectly encapsulates Armando Iannucci’s signature style, blending absurdity with biting political satire in a screen adaption of a graphic novel. La Mort de Staline, by writer Fabien Nury and illustrator Thierry Robin, deserves more recognition. Set in the chaotic aftermath of Joseph Stalin’s death in 1953, the film offers a darkly humorous look at the power struggles among the then Soviet leadership. Iannucci’s other notable works, such as The Thick of It and In the Loop, each  enjoy thematic similarities and differences.

In simple detail, The Death of Stalin follows the Soviet Union’s top officials as they scramble to fill the power vacuum left by Stalin’s sudden demise and death. The plot is infused with Iannucci’s sharp wit and keen eye for political absurdity, reminiscent of his previous stylish works. In The Thick of It and its film adaptation In the Loop, Iannucci dissects British and American politics with a similar ruthless humour, portraying politicians as self-serving and often inept. See also Boris Johnson et al. While Veep focuses on the American political system, it shares the same core of farcical incompetence and backstabbing, as seen in Real Life™.

Through an ensemble cast of The Death of Stalin features standout performances from Steve Buscemi as Nikita Khrushchev and Simon Russell Beale as the sinister Lavrentiy Beria. These characters are far greater morally ambiguous and menacing than the bumbling politicians of other works. While Malcolm Tucker (played by Peter Capaldi) is ruthless in his own right, his malevolence is played for comedic effect rather than genuine threat. The characters in The Death of Stalin are more multifaceted, with their comedic traits underscored by a palpable sense of danger. You wouldn’t invite any of them over for tea! Michael Palin and Paul Whitehouse blend in with a cast so strong that everyone and every moment could stand out, yet overall, the tapestry is enriched by presence in force.

Unlike the contemporary settings of Iannucci’s previous works, The Death of Stalin is rooted in a specific watershed historical period, which adds an educational layer to the satire. Iannucci balances historical accuracy with his comedic narrative, offering viewers a glimpse into a tumultuous time while maintaining his distinct style. This historical angle distinguishes the film from his other projects, providing a unique backdrop that enhances the absurdity of the characters’ actions.

The aesthetics and visual style of The Death of Stalin are more polished and cinematic compared to the handheld, almost documentary-like feel of The Thick of It. The production design authentically recreates 1950s Soviet Union, contributing to the film’s immersive quality. This attention to detail contrasts with the more contemporary and less stylized settings of Veep and The Thick of It, highlighting Iannucci’s versatility as a director.

Iannucci’s humor is dark and unflinching in The Death of Stalin, perhaps more so than in his earlier projects. The stakes are higher, with characters facing life-or-death consequences rather than just career setbacks. This adds a layer of tension absent amongst his television productions, where the political blunders are often played for laughs without such dire outcomes. The macabre humour in The Death of Stalin reflects the brutalised reality of Stalinist Russia yet still finds absurdity in the paranoia and sycophancy of its characters. As such this movie stands out.

This Armando Iannucci film grips through historical context, darker humour, and higher stakes. While it shares the sharp wit and satirical edge of his earlier works, the film delves far deeper into the sinister aspects of political power. Fans of his familiar comedic elements should also be prepared for a more intense and historically grounded experience. Iannucci successfully adapts his style to this new setting, slowly and carefully delivering a film that is harrowing and hilarious, solidifying his reputation as a master of political satire.