A Dramatic Tribute to Anna Politkovskaya
As a joint British-American endeavor, this film presents a dramatized depiction of the life and career of Russian journalist Anna Politkovskaya, portrayed by Maxine Peake, who was tragically murdered in 2006. Known for her fearless and fervent journalism during the second Chechen war, Politkovskaya openly criticized the Kremlin, the Russian military, and directly, Vladimir Putin. The grim irony of her assassination occurring on Putin’s birthday has led many to suspect it was not merely coincidental. Nearly two decades later, her legacy continues to inspire global resistance against tyrannical rule, resonating especially in today’s climate of increased repression and ongoing threats against journalists.
The film, though a straightforward narrative, commands respect for tackling such significant subject matter. However, it tends to lean towards an overly reverential tone and falls into some common tropes seen in films about crusading journalists. It is worth noting that Politkovskaya’s family has not endorsed the film, possibly due to dissatisfaction with how their fictional representations are written. For example, her son Ilya, played by Harry Lawtey, is portrayed as somewhat petulant and self-centered, which might not sit well with viewers, especially when his emotional turmoil is quite justified in the context of his mother’s dangerous career.
Character Portrayals and Cinematic Execution
The portrayal of peripheral characters in the film often overshadows that of Peake’s Politkovskaya. Despite being burdened with an unflattering blond wig, Peake strives to embody the journalist’s dignified and resolute spirit. Her most compelling interactions occur with Jason Isaacs, who plays her husband Sasha, a television journalist who, while proud of his wife, harbors a tinge of jealousy over her accomplishments. Additionally, scenes with Ian Hart, who excels as a menacing FSB officer with a penchant for history, add depth to the narrative.
The film’s aesthetic, characterized by gentle string music and subdued lighting, unfortunately contributes to a somewhat flat, TV-like quality. This is particularly evident during what should be a gripping sequence—the disastrous siege at Moscow’s Dubrovka theatre—an event that is somewhat underplayed here with limited dynamic filmmaking techniques like slow-motion and subdued sound. The film also revisits a critical moment when Politkovskaya acted as a mediator between Russian forces and Chechen terrorists during a siege, and her subsequent poisoning on a flight to Beslan, a horrifying episode involving the death of children at the hands of terrorists. Though she survived this attempt on her life, those familiar with her story anticipate the inevitable tragic end.
In a poignant tribute over the closing credits, the film not only honors Politkovskaya’s memory but also acknowledges the plight of over 1,500 journalists who have been killed globally in recent years, underscoring the perilous nature of truth-telling in hostile environments.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
