In a genre often dominated by reverent hagiographies, “The Idiot(s)” distinguishes itself by focusing on a finite, conflict-ridden chapter of Fyodor Dostoevsky’s life. Rather than merely excusing the author’s unsavory personal traits, the film challenges viewers to find value in his literary perspective even as it exposes his character flaws. The iconic image of the bearded sage is replaced by that of a wretched gambler and drunken fool, deliberately detaching the man from the monumental status of his oeuvre.
Johnny Flynn portrays this visceral version of Dostoevsky, whose fame from “Crime and Punishment” follows him to Germany during his honeymoon with his much younger wife, Anna, played by Aimee Lou Wood. Fyodor’s insufferable pride and disgust for Western Europe are evident early on, particularly in an impromptu dance-off where he out-Russians his rival, Ivan Turgenev, played by Christian Friedel. Turgenev’s assimilation into Western comforts serves as a primary source of Fyodor’s disdain.
Directors Małgorzata Szumowska and Michał Englert, whose own intertwined personal and professional history mirrors the film’s dynamics, crafted the story as a two-hander. Drawing on Andrew D. Kaufman’s novel “The Gambler Wife: A True Story of Love, Risk and the Woman Who Saved Dostoyevsky,” they ensure Anna carries as much dramatic weight as her husband. The narrative highlights the contrast between the palatial lives of the elite and the grimy apartments where the couple struggles while Fyodor attempts to write “The Idiot.” Scatological humor is employed to dissolve any notion of 19th-century elegance, with Vicky Krieps delivering a vicious performance as an aristocrat who revels in moral decay.
Flynn’s performance captures Dostoevsky’s lack of self-control, shifting between debauchery and desperate humiliation. In one scene, he begs on the floor for money or forgiveness, balancing humor with intense discomfort. Meanwhile, Wood infuses Anna with charisma and cleverness, managing backdoor deals to keep the family afloat. Despite Fyodor’s flaws, the film suggests her adoration is justified by the authentic, albeit brutish, nature of their unconventional romance.
The film culminates in the promise that a timeless masterpiece can emerge from a year of madness, provided Anna never ceases to trust her partner. In a playful anachronism, the directors use a pared-down version of A-ha’s “Take on Me,” signaling their intent to demystify cultural icons. By bringing revered figures down from their pedestals to deal with quotidian woes, “The Idiot(s)” suggests that their work may be even more revelatory when stripped of its solemn aura.
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