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In a recent appearance, star Jude Law stated he “didn’t fear any repercussions” for playing the Russian leader in a new film. The movie, though, could coincide so closely with the carefully constructed image promoted by official channels that, within Russia, it functions as a compliment rather than a critique.
Over a long period, the Kremlin and its pop-culture machine have worked together to forge a made-to-measure persona of the president. This figure is a political superhero devoid of flaws, an ex-intelligence officer reimagined as a local 007 who always knows more than he reveals.
“In Russia, the constructed Putin has long eclipsed the real one.”
A notable instance is a TV series launched last October, helmed by a pro-government filmmaker. Its main character is a invented security officer selected by fate to “save” the nation from disorder. Although the character's name a different name, the implication is clear: the hero must be a known figure from the secret services.
Western portrayals often end up buttressing this identical story instead of undercutting it. An adaptation inspired by a popular book aims to subvert the leader's mythology by presenting him as a symptom but as a consequence, shifting the narrative weight to the spin doctors around him.
On screen, Putin is presented as having been chosen by powerful oligarchs to stabilise the country because he is “a fit former intelligence agent”. They visit him and practically plead him to take the top job. He replies is that he would rather govern from the background, seeking enduring influence.
This tale is a key piece of state propaganda: the cool, reluctant strategist shaped by destiny. In reality, these events ever happened.
No one actually pleaded with Putin to accept the role. The position was effectively a selection process with many candidates. Central to this process stood a powerful businessman from the Yeltsin era who planned to control the country de facto.
“They didn’t need a powerful leader, they needed someone malleable, someone who would follow instructions.”
Experts agree that the notion of him as a master operative was constructed retrospectively. Stories about his “recruitment work” in Dresden do not stand up to scrutiny. Fundamentally, he handled paperwork and technical tasks, a mid-level functionary not involved with actual agent work.
Interestingly, the shift to depicting him as a “spy” could partly have been triggered by the actor's arrival as James Bond. The grittier interpretation led Russian media and social media to make comparisons with their leader. Edited images replacing Craig’s face with his appeared on Moscow streets, feeding the growing tendency to frame him as a local secret agent.
Given the casting, an actor popular with viewers there, the Kremlin will not miss the chance to frame his casting as a small victory. Its exclusion of public dissent, the political rivals, or prominent activists from its narrative, even though it includes the past decade, is a welcome aspect for state propaganda.
In Russian cinema, the president is often an omnipotent figure who remains unseen on screen. He is signaled through photographs or calls “from above”. In this new film, he finally acquires a recognizable face—one that may inadvertently validate the exact legends it perhaps aims to question.
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