I’m still not quite sure whether “Children of the Revolution” was propaganda in favor of communism, propaganda against communism, or whether it was just an off-the-wall comedy.
However you classify it, this Australian-born instant classic was possibly the funniest movie of the summer.
Judy Davis, who also directed, stars as Joan, a young, hopeful communist in early 1950s Australia, where that system of government was about as popular as it was here at the same time. She is convinced that a revolution is at hand, and it is her duty to lead it.
In her quest for greatness, she writes almost daily letters to Soviet leader Joseph Stalin (portrayed somewhat comically by F. Murray Abraham). These letters go unreturned for months, even years, until one day, she is invited, by order of Stalin himself, to the party congress in Moscow.
When she first arrives, Stalin is bed-ridden and refuses to be seen, so Russian officials take her on a several-day tour, speaking at rallies across the Soviet Union. Then, when Stalin is more fit for public appearance, they finally meet.
Joan, like any right-minded communist, is shocked to finally be meeting such a great leader, but Stalin has other things on his mind. following their initial dinner, they watch an American film, and after all of Stalin’s cronies leave the room, he puts the moves on his Australian visitor.
The next thing we see is Joan, in complete shock for a different reason: she has slept with (it seems) and killed Stalin. Later that night, she finds some degree of comfort in a great deal of liquor and in Soviet/Australian double agent David Hoyle (Sam Neill) who, it seems, she also sleeps with.
So, her pregnancy when she returns home is quite a source of concern and confusion. She enlists the help of long-time suitor Welch (Geoffrey Rush) to father the child, not ever telling him who the real father is.
As usual, when the confusion ensues, so does the laughter, and both are present in abundance. The film moves forward over forty years, and when the child begins to resemble Stalin in both looks and attitude, everyone worries even more.
Unfortunately, the last half-hour or so is devoid of the laughter that defines the majority of the film. However, the humor in the entire story lasts almost to the end.
What exactly is supposed to be funny is always a little unclear, though. F. Murray Abraham’s performance as Stalin is hilariously over-the-top, yet the other actors he converses with don’t seem to be in on the joke. Neill as the double agent is outrageous, as well, but the same problem is present.
If you wait for the jokes, you may never laugh at “Children of the Revolution.” But, if you listen carefully to what everyone says and, better yet, to what exactly they talk about, the humor rarely quits.
Grade: A-