The satire of Armando Iannucci, “The Death of Stalin”, speaks of the struggle for power that followed the death of Stalin in 1953. But it was redesigned with characters speaking contemporary English and his environment feels terribly modern. The film shows a people ruled by the worst of all: a group of small and bitter men whose sole purpose is to survive and survive, the other men sitting around the table. In one scene, Vasily, the stingy son of Stalin, burst into the room to claim a role in the official memorial service:
I want to make a speech at my father’s funeral.
I want to fuck Grace Kelly –
I do not really care. I want to make a speech at my father’s funeral.
Comrade Malenkov, your point of view?
Well, I think, uh, that it can be, uh … no problem.
Ah, technically yes, but practically …
There are programmatic complications.
You know, I think I did not speak well when I said, “No problem.” What I meant was “No, problem!” [Sigh.] Ignore me, that’s not a problem.
The last line is a joke that delights the nerds of grammar and sold to perfection by Jeffrey Tambor, of which Malenkov is a man who has not made a decision over the years without visibly seeking the approval of others. It is also an orderly articulation of one of the central ideas of the film: in a society stunned by lies, words and punctuation can be used to win the skirmish on hand, then move a little to win the event. ‘other.