Dostoevsky's Drunken Fool: A Romantic Comedy That Demystifies Literary Legends

From Monumental Genius to Mundane Man

As I settled into my seat for 'The Idiot(s)', I wasn't expecting a typical biographical portrait. Instead, I found myself in the company of a man who is anything but monumental — Dostoevsky, the Russian literary giant, as rendered by Johnny Flynn. It's a radical departure from the usual reverence paid to such figures, and it's one that pays off in ways both surprising and deeply human.

The Two-Hander That Makes History Personal

Małgorzata Szumowska and Michał Englert's film is a cleverly constructed two-hander where Anna, played by Aimee Lou Wood, isn't just a supportive wife but a central character with her own agency. This isn't your typical biopic — it's a deeply personal, often cringe-comedic journey into the heart of the man behind the myths.

The Unlikely Marriage of Art and Absurdity

What strikes you most is how this film makes the impossible seem inevitable. Flynn's Dostoevsky is not just a drunk — he's a caricature of his own legacy, a man so proud of his genius that he cannot see past his own inadequacies. The scenes where he dances with Ivan Turgeniev are both hilarious and tragic — a moment where his intellectual superiority crumbles into theatrical absurdity.

"The Idiot(s)" isn't just about Dostoevsky; it's about the very nature of genius itself, rendered through the lens of a man who's more interested in gambling than in literature.

Anna: The Unseen Force Behind the Genius

Aimee Lou Wood brings a compelling strength to Anna, whose character is just as complex and layered as her husband's. Her performance captures not just the endurance of a woman married to a man who often seems more like a child than a genius — but also her quiet, fierce loyalty to his work. When she picks up his slack, it's not just about survival; it's about belief in a flawed man's potential.

A New Kind of Biographical Film

The film's humor isn't merely for laughs — it's a sharp critique of the reverence we often place on great artists. By making Dostoevsky's shortcomings as visible as his literary triumphs, 'The Idiot(s)' strips away the myth and lets us see the man behind the monument.

The Role of Scatological Humor

It's hard to ignore the film's deliberate use of scatological humor. The stark contrast between the luxurious accommodations of the elite and the grimy living conditions of Dostoevsky and Anna serves as both a social commentary and a narrative device. It's a clever way of showing how even the great can be humbled by their circumstances.

Love, Suffering, and Literary Creation

The film also explores the idea that suffering is a necessary ingredient for literary creation — but it's not just about Dostoevsky. Anna, in her own way, suffers too — from the instability of their financial situation and the emotional toll of being married to a man who can't quite seem to get his act together. Yet she persists, which makes her even more compelling.

Timeless Themes in an Anachronistic Setting

There's something almost magical about how 'The Idiot(s)' manages to blend the timeless with the period-appropriate. The inclusion of A-ha's 'Take on Me' is not just a playful nod to another era — it's a reminder that great art transcends time, even when its creators are very much of their own.

The Enduring Legacy

Ultimately, 'The Idiot(s)' offers a fresh perspective on how we view historical figures. It challenges us to question the line between greatness and absurdity, genius and madness — and suggests that perhaps, in our modern world, it's those very contradictions that make them most human.