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If people in an absurd situation realize they’re in an absurd situation, are they no longer absurd? Does the situation become tragic instead?
Moot point here, since no one in “Leninland,” a 53-minute documentary from Askold Kurov, thinks they’re in an absurd situation. They take it all very, very seriously.
In Gorki, Russia, where Vladimir Ilyich Lenin died, a museum to honor his legacy—as if he needed another one in the Soviet era—opened to the public in 1987. For the first three years, according to Natalya, a history teacher, it drew 3,000 visitors a week. Visitors fell off a bit in 1990. A year later, the U.S.S.R. was swallowed up by history. The museum still exists but now it draws 20 visitors a week—mostly Chinese tourists or field trips of Russian schoolchildren, who, when asked who Lenin was, guess the following:
- A leader
- A Russian
- A human
It’s a bit of a comedown from the days when Lenin was, in the Russian consciousness, a combination of Jesus Christ, Santa Claus and Mickey Mouse.
Lifeless in the death-mask room
On the plus side (for Lenin), he’s got Natalya and Evgenia, the bickering caretakers of the museum.
Evgenia is religious and sees Lenin in this light. He’s her opiate. Not her only one, either. She loves Jesus and Communism, too. You read that right: Jesus and communism. “The truth of the Lord was with the Bolsheviks,” she says at one point. “Great men do not die: they go to Heaven and keep working,” she says at another point. She says she’s at the museum as part of her spiritual journey. She could be from Portland or Seattle.
Natalya? She’s still a true believer: in Lenin, communism, and her way or the highway. You don’t mess. She overwhelms all of her opponents with words. We see her instructing a would-be tour guide at the museum not only on what he should say but on the proper way to point with his pen. When the town council talks up changing the museum from its Lenin-centric focus so that it might draw more tourists, she reminds everyone that Lenin is why the town is known. A beautiful red carpet used to adorn the Lenin “death mask” room, but it was taken for another, more important museum, and she laments its absence. “Now it’s just so lifeless in here,” she says of the death-mask room. You half expect her to say the rug really tied the room together.
Eventually she and Evgenia argue about spirituality versus matter/basic necessities. Their voices are calm but tense, as each strives to get in the last word and get her point-of-view understood. To be fair, as workplace arguments go, it beats Ginger vs. Mary Ann.
Throughout, I kept flashing back to that great line from George S. Patton in the George C. Scott movie: “Americans love a winner ... and will not tolerate a loser.” So with the Russians here. Lenin was the leader of a team that lost. He’s in the dustbin of history. He put Russia there. Why be reminded of that?
Or maybe it’s just franchise fatigue.
“Leninland” is a good doc: short, absurd, indicative of how far the country has come. In the end, a new museum director is appointed, and he’s got plans for the museum—Chinese stage shows, we learn, to bring in more Chinese tourists—but Natalya disputes them in front of everyone. Not smart. But he doesn’t go after her. Instead he points at Kurov and tells him to stop filming. The camera is dutifully lowered but continues recording. Then we hear the director telling him to delete the footage. “Stop and delete,” he says repeatedly. Obviously, Kurov doesn’t do this. He also says the following with the new director still nearby: “I didn’t expect the Spanish Inquisition.”
May 23, 2014
© 2014 Erik Lundegaard