In a recent appearance, star Jude Law remarked he had no concerns about backlash for playing Vladimir Putin in a cinematic adaptation. The movie, however, may align too neatly with the carefully constructed version circulated by Russian state media that, within Russia, it functions as a endorsement rather than a critique.
Over a long period, the Russian political apparatus and its pop-culture machine have collaborated to craft a tailor-made persona of Putin. This character is a political superhero without age or mistakes, an ex-intelligence officer reframed as a local 007 who always knows more than he reveals.
“In Russia, the constructed Putin has long eclipsed the actual person.”
A notable instance is a TV series launched last fall, directed by a pro-government filmmaker. The protagonist is a invented blue-eyed lieutenant colonel selected by fate to “save” Russia from chaos. Although he is called Mikhail, the message is unmistakable: the hero must be a familiar security officer.
Western portrayals frequently result in buttressing this same narrative instead of undercutting it. A new film inspired by a bestselling satirical novel sets out to undermine the leader's mythology by presenting him as a symptom but as a consequence, shifting the focus to the political machinery surrounding him.
In the film, the president is presented as having been picked by influential figures to stabilise the country because he is “young, athletic and a spy”. The oligarchs approach him and all but beg him to take the top job. His response is that he would rather govern from the shadows, desiring permanent power.
This narrative is the Kremlin’s export myth: the cool, reluctant strategist shaped by destiny. Historically, none of this took place.
No one actually pleaded with Putin to take the job. The position was in essence a selection process with many contenders. At the centre to the selection stood a powerful businessman from the previous administration who planned to control the state de facto.
“The goal wasn't a powerful leader, they needed someone malleable, someone who would obey orders.”
Analysts concur that the notion of him as a master operative was built after the fact. Stories about his “recruitment work” in Dresden fall apart under examination. Fundamentally, he was an administrator and technical tasks, a low-level clerk not involved with actual agent work.
Interestingly, the move to framing him as a “007” may in part have been triggered by the actor's arrival as James Bond. The grittier version led Russian media and online audiences to make comparisons with their leader. Mashup posters swapping Craig’s face with Putin’s surfaced on Moscow streets, feeding the growing tendency to frame him as a local secret agent.
With Jude Law, an actor well-liked by Russian audiences, the Kremlin are likely to seize the opportunity to portray this choice as a small victory. The film's omission of public dissent, the political rivals, or prominent activists in the story, even though it includes the past decade, is a welcome aspect for state propaganda.
In Russian cinema, Putin is frequently an omnipotent figure who never appears directly. His influence is hinted at through photographs or calls “from above”. In this new film, he finally acquires a recognizable face—one that may inadvertently validate the very myths it perhaps aims to question.
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