Children of the Revolution Reviews

  • Dec 07, 2016

    Judy Davis plays a dedicated communist in 1950's Australia. Her letters to Stalin (F. Murray Abraham) garner her an invitation to Moscow, largely so he can bed her. He does, but when he dies in the throws of passion, she returns to Australia pregnant with what might be his son. (She sleeps with KGB double-agent Sam Neill on the same night.) Needing a father for her child, she marries nice-guy Geoffrey Rush who raises the possible son of Stalin as his own. When he grows up (and becomes Richard Roxborough), Stalin, Jr. marries an attractive policewoman (Rachel Griffiths) and becomes the ruthless leader of a police union. A hell of a lot goes on in the strange, undeservedly obscure Aussie comedy. With a cast like this, how come nobody has heard of it. Possibly because it's very weird, and not in the kind of way that garners a large cult following. Although the last half hour slopes of pretty dramatically, I really enjoyed this oddity.

    Judy Davis plays a dedicated communist in 1950's Australia. Her letters to Stalin (F. Murray Abraham) garner her an invitation to Moscow, largely so he can bed her. He does, but when he dies in the throws of passion, she returns to Australia pregnant with what might be his son. (She sleeps with KGB double-agent Sam Neill on the same night.) Needing a father for her child, she marries nice-guy Geoffrey Rush who raises the possible son of Stalin as his own. When he grows up (and becomes Richard Roxborough), Stalin, Jr. marries an attractive policewoman (Rachel Griffiths) and becomes the ruthless leader of a police union. A hell of a lot goes on in the strange, undeservedly obscure Aussie comedy. With a cast like this, how come nobody has heard of it. Possibly because it's very weird, and not in the kind of way that garners a large cult following. Although the last half hour slopes of pretty dramatically, I really enjoyed this oddity.

  • Aug 16, 2013

    One of the quirkiest and funniest movies I have seen in a long time, featuring a brilliant performance by Judy Davis. Bravo.

    One of the quirkiest and funniest movies I have seen in a long time, featuring a brilliant performance by Judy Davis. Bravo.

  • Mar 02, 2012

    Whose Revolution Is It Anyway? There were a lot of people who flirted with Communism because they didn't know what it was really like in the Soviet Union. When Stalin (F. Murray Abraham) dies early in this movie, it would have been easy for people who did not know to convince themselves that it was because they were now that much closer to power. It's in retrospect obviously sheer relief at surviving Stalin's regime at all, much less with your political power intact. How much emotional attachment you had to the regime was not, it must be made clear, entirely to do with what relationship you had with Stalin. His daughter died not long ago; his older son died in a concentration camp. Stalin had refused to arrange his son's release on the grounds that anyone captured in war was a coward and deserved what he got. Bearing Stalin's legacy would not be an easy one, especially if you grew up somewhere the legacy was made clear. Joan (Judy Davis) is one of those middle class Communists you get in countries like, well, Australia. Regular as clockwork, she writes long and longing letters to Stalin, letters which make the men who actually read them weep. One day, Stalin himself chances to see her picture, and he invites her to come to Moscow. The Soviet leadership wines and dines her, and she ends up spending the night with him. It is the last night he is ever to spend with anyone. Joan returns to Australia, where she finds out that she is pregnant. She marries fellow revolutionary Welch (Geoffrey Rush) to give her son a name, but she knows whose son the boy is. Despite the hopes of Nine (Sam Neill), an agent who was also in Moscow that fateful night and who loves her. She names the boy Joe (Richard Roxburgh), and she raises him in revolutionary principle. Which is why she is so shocked when he not only marries a policewoman (Rachel Griffiths) but begins to organize a union of law enforcement officers. There are a few too many coincidences for my taste. The fact that Anna, the policewoman, ended up in Australia because her family was killed by Stalin was bad enough. But the fact that Nine had something to do with it? The fact that he is able to see her in Australia before she leaves and then be with her in Moscow when she arrives there? It's a bit much. The fact that Joe is injured in a fire so that his nose is shaped like his father's and his lip is horribly scarred just is not right. Especially the lip part; one might believe that he will grow up with the nose, but the movie just felt the need to force the character into a Stalin-style moustache. And honestly, I don't think we need the idea that he comes to resemble his father physically to recognize how much he is coming to resemble his father in other ways. I think the filmmakers just thought it was funnier if they did it that way, the way they thought so much else was funny that wasn't, much. The only truly sympathetic character in the piece is Welch. He loved Joan before she went off to Moscow, asked her to marry him, in fact. And when she needed help, when she came back to Australia carrying Joseph Stalin's secret child, it was Welch who could help her. She couldn't or didn't even tell him the truth. She told him that she didn't get a chance to meet Stalin before he died, which of course he suspected was a lie as soon as she told it. But he loved her--and loved her son as his own. It's possible to have some sympathy for Anna as well, but I don't think anyone took her quite as much for granted. Welch knew he was being used; he couldn't not. He knew that his marriage to Joan was her concession to public opinion, and he tried to do his best by them both. By the sound of it, he was a good dad, too, doing as much as he could to balance out the fanatical nature of Joan. Unfortunately, there wasn't much to be done to overcome both her parenting and Joe's father's genes. This was not, I think, as good a movie as [i]Goodbye, Lenin[/i], a somewhat similar film. Part of it is that [i]Goodbye, Lenin[/i] explores the real impact the fall of the Soviet Union would have on someone of Joan's beliefs. As we see it here, Joan changes not an iota and doesn't react very much, either. It's worth noting that neither Joe nor the German film's Alex are all that ideologically devoted to Communism. Whatever Joe believes, he is at least as interested in his own potential power and influence as anything else. The movie does not mention anything about his father's ideology per se, though I have always felt that people like Joseph Stalin are not attracted to an ideology so much as they are to an opportunity to gain power. Stalin could not have acquired much under the Tzarist system, given the family of his birth. Communism offered a system where a short, pockmarked cobbler's son from Georgia could rise to power over others, and that's what drew him. Certainly not anything to do with helping the poor!

    Whose Revolution Is It Anyway? There were a lot of people who flirted with Communism because they didn't know what it was really like in the Soviet Union. When Stalin (F. Murray Abraham) dies early in this movie, it would have been easy for people who did not know to convince themselves that it was because they were now that much closer to power. It's in retrospect obviously sheer relief at surviving Stalin's regime at all, much less with your political power intact. How much emotional attachment you had to the regime was not, it must be made clear, entirely to do with what relationship you had with Stalin. His daughter died not long ago; his older son died in a concentration camp. Stalin had refused to arrange his son's release on the grounds that anyone captured in war was a coward and deserved what he got. Bearing Stalin's legacy would not be an easy one, especially if you grew up somewhere the legacy was made clear. Joan (Judy Davis) is one of those middle class Communists you get in countries like, well, Australia. Regular as clockwork, she writes long and longing letters to Stalin, letters which make the men who actually read them weep. One day, Stalin himself chances to see her picture, and he invites her to come to Moscow. The Soviet leadership wines and dines her, and she ends up spending the night with him. It is the last night he is ever to spend with anyone. Joan returns to Australia, where she finds out that she is pregnant. She marries fellow revolutionary Welch (Geoffrey Rush) to give her son a name, but she knows whose son the boy is. Despite the hopes of Nine (Sam Neill), an agent who was also in Moscow that fateful night and who loves her. She names the boy Joe (Richard Roxburgh), and she raises him in revolutionary principle. Which is why she is so shocked when he not only marries a policewoman (Rachel Griffiths) but begins to organize a union of law enforcement officers. There are a few too many coincidences for my taste. The fact that Anna, the policewoman, ended up in Australia because her family was killed by Stalin was bad enough. But the fact that Nine had something to do with it? The fact that he is able to see her in Australia before she leaves and then be with her in Moscow when she arrives there? It's a bit much. The fact that Joe is injured in a fire so that his nose is shaped like his father's and his lip is horribly scarred just is not right. Especially the lip part; one might believe that he will grow up with the nose, but the movie just felt the need to force the character into a Stalin-style moustache. And honestly, I don't think we need the idea that he comes to resemble his father physically to recognize how much he is coming to resemble his father in other ways. I think the filmmakers just thought it was funnier if they did it that way, the way they thought so much else was funny that wasn't, much. The only truly sympathetic character in the piece is Welch. He loved Joan before she went off to Moscow, asked her to marry him, in fact. And when she needed help, when she came back to Australia carrying Joseph Stalin's secret child, it was Welch who could help her. She couldn't or didn't even tell him the truth. She told him that she didn't get a chance to meet Stalin before he died, which of course he suspected was a lie as soon as she told it. But he loved her--and loved her son as his own. It's possible to have some sympathy for Anna as well, but I don't think anyone took her quite as much for granted. Welch knew he was being used; he couldn't not. He knew that his marriage to Joan was her concession to public opinion, and he tried to do his best by them both. By the sound of it, he was a good dad, too, doing as much as he could to balance out the fanatical nature of Joan. Unfortunately, there wasn't much to be done to overcome both her parenting and Joe's father's genes. This was not, I think, as good a movie as [i]Goodbye, Lenin[/i], a somewhat similar film. Part of it is that [i]Goodbye, Lenin[/i] explores the real impact the fall of the Soviet Union would have on someone of Joan's beliefs. As we see it here, Joan changes not an iota and doesn't react very much, either. It's worth noting that neither Joe nor the German film's Alex are all that ideologically devoted to Communism. Whatever Joe believes, he is at least as interested in his own potential power and influence as anything else. The movie does not mention anything about his father's ideology per se, though I have always felt that people like Joseph Stalin are not attracted to an ideology so much as they are to an opportunity to gain power. Stalin could not have acquired much under the Tzarist system, given the family of his birth. Communism offered a system where a short, pockmarked cobbler's son from Georgia could rise to power over others, and that's what drew him. Certainly not anything to do with helping the poor!

  • Jan 04, 2011

    Quelques situations droles mais je n'ai pas accrochà (C) à cet humour acide sur lit de politique.

    Quelques situations droles mais je n'ai pas accrochà (C) à cet humour acide sur lit de politique.

  • Nov 19, 2009

    I love dark humor and this movie is rife with it. F. Murray Abraham's portrayal of Stalin as a vain, buffoonish seducer is hilarious. About the only time Stalin made me laugh. Judy Davis is, as always, stellar.

    I love dark humor and this movie is rife with it. F. Murray Abraham's portrayal of Stalin as a vain, buffoonish seducer is hilarious. About the only time Stalin made me laugh. Judy Davis is, as always, stellar.

  • Aug 23, 2009

    well umn just seen this movie 4 the 1st time n think that this is a good movie 2 watch....its got a good cast of actors/actressess throughout this movie....i think that geoffrey rush, judy davis, sam neil play good roles/parts throughout this movie....i think that the director of this comedy/drama movie had done a great job of directing this movie because you never know what 2 expect thorughout this movie....its a great dark comedy movie 2 watch n its really enjoyable thorughout this movie....its just such a great movie 2 watch n its a really enjoyable movie 2 watch with a good cast throughout this movie

    well umn just seen this movie 4 the 1st time n think that this is a good movie 2 watch....its got a good cast of actors/actressess throughout this movie....i think that geoffrey rush, judy davis, sam neil play good roles/parts throughout this movie....i think that the director of this comedy/drama movie had done a great job of directing this movie because you never know what 2 expect thorughout this movie....its a great dark comedy movie 2 watch n its really enjoyable thorughout this movie....its just such a great movie 2 watch n its a really enjoyable movie 2 watch with a good cast throughout this movie

  • Aug 06, 2009

    I can't believe they don't list Richard Roxburgh in the cast list; his role in this is hilarious! Good luck finding it; I was in Australia when I saw it.

    I can't believe they don't list Richard Roxburgh in the cast list; his role in this is hilarious! Good luck finding it; I was in Australia when I saw it.

  • Nov 28, 2008

    Judy Davis is an extremely devout Australian Stalinist raising a son in Children of the Revolution. Mother and son bond by going to jail together for the Revolution. Lots going on in this uneven black comedy also featuring Sam Neill and Geoffrey Rush. (1996)

    Judy Davis is an extremely devout Australian Stalinist raising a son in Children of the Revolution. Mother and son bond by going to jail together for the Revolution. Lots going on in this uneven black comedy also featuring Sam Neill and Geoffrey Rush. (1996)

  • Oct 29, 2008

    More people should see this movie!

    More people should see this movie!

  • Sep 03, 2008

    a darkly funny and original comedy I was very happy with the calaber of acting from geoffrey rush and the others, it was funny, sad, sadistic and all together a very good film, i highly recommend it if you want a good laugh, a good film and an important one at that.

    a darkly funny and original comedy I was very happy with the calaber of acting from geoffrey rush and the others, it was funny, sad, sadistic and all together a very good film, i highly recommend it if you want a good laugh, a good film and an important one at that.