"The Master and Margarita: From Literary Classic to Film Phenomenon" -

“The Master and Margarita,” the highly anticipated film adaptation of Mikhail Bulgakov’s iconic novel, has made an impressive debut at the Russian box office. Released less than a month ago, the film quickly became one of the highest-grossing and most talked-about films in Russia. In its opening weekend, it grossed almost half a billion rubles, marking an extraordinary start. This achievement places it among the highest-grossing Russian films in recent years, drawing significant attention from both critics and audiences.

Bulgakov’s The Master and Margarita is widely regarded as one of the most influential and widely-read Russian novels of the 20th century. The story, which blends fantasy, political satire, and deep philosophical questions, has captivated generations of readers. It centers around a mysterious visit by the Devil to Soviet Moscow, exploring themes of love, betrayal, and the eternal struggle between good and evil.

The film’s adaptation remains faithful to the novel’s complex narrative, while introducing a fresh cinematic perspective that resonates with both fans of the original work and newcomers to the story. The combination of a strong, visually compelling direction and powerful performances has contributed to the film’s immediate success, pushing it to the forefront of contemporary Russian cinema.

With its strong box office performance and widespread critical acclaim, The Master and Margarita is poised to continue dominating Russian cinema in the coming months. As the film adaptation rises to prominence, it serves as a testament to the enduring appeal of Bulgakov’s masterpiece.

Despite its massive success, The Master and Margarita quickly became a focal point of controversy, drawing criticism from pro-government groups and Z-activists in Russia. These groups launched a campaign against the film, with some calling for its ban and even for legal action against the director, Mikhail Lockshin, a US citizen. Lockshin, who is relatively new to filmmaking, has already seen success with his previous project, Silver Skates—Russia’s first Netflix Original film. The film, a holiday caper set in St. Petersburg, tackled both light-hearted and socially significant themes such as women’s rights and political protests.

The Master and Margarita had initially been considered for release as a Netflix Original, with backing from Universal for international distribution. The film was made before the onset of the war, allowing the filmmakers to secure top international talent, which may have contributed to the backlash. Some casting choices and the film’s production history, including its initial global approach, have added fuel to the critics’ fire.

The controversy underscores the tension between the film’s artistic success and the political environment in Russia, where any project with international backing or perceived as politically sensitive can face scrutiny. As the film continues to dominate the box office, it remains caught between widespread popularity and increasing political pressure.

The cast of The Master and Margarita features notable international talent, which adds to the film’s appeal, especially to Western audiences. German actor August Diehl, famous for his roles in The Counterfeiters (which won the Academy Award for Best Foreign Language Film) and Quentin Tarantino’s Inglourious Basterds, plays Woland, the Devil. Meanwhile, the role of Pontius Pilate is portrayed by Danish actor Claes Bang, known for his lead role in Ruben Östlund’s critically acclaimed The Square.

The Russian cast also includes some recognizable faces for Western viewers. Yulia Snigir, who plays Margarita, has appeared in Paolo Sorrentino’s The New Pope and the Hollywood action film A Good Day to Die Hard. Yuri Kolokolnikov, who portrays one of Woland’s entourage members, gained international recognition through his roles in popular TV series such as Game of Thrones and The Americans.

These casting choices have sparked discussions, particularly considering the film’s international backing and the involvement of established Western actors, further intensifying the political controversy surrounding the project in Russia.

Roman Kantor, the screenwriter behind The Master and Margarita, previously collaborated with director Mikhail Lockshin on his debut film, Silver Skates. Kantor also wrote the script for the widely praised Russian TV series To the Lake, which was bought by Netflix and even garnered praise from Stephen King, who described it as “a pretty darn good Russian series.” This combination of talent in both film and television has contributed to the high expectations surrounding The Master and Margarita.

However, the film faced significant challenges after Russia’s invasion of Ukraine. Universal, which had initially supported the project, withdrew its backing, and the film’s release was delayed due to funding issues for post-production. Despite these setbacks, the film’s eventual success has been a remarkable achievement in the Russian film industry.

Everyone’s favorite novel

The film’s immense popularity and the ongoing discussions about its strengths and weaknesses are deeply rooted in the source material — The Master and Margarita by Mikhail Bulgakov. The novel, written during the Soviet era, has long been regarded as one of the most significant works of 20th-century Russian literature. Its blend of fantasy, philosophy, and political commentary provides a complex and layered narrative that challenges both readers and filmmakers.

Bulgakov’s novel is known for its surreal narrative, exploring themes of good versus evil, the power of the state, and the human condition. The story intertwines the fate of the Devil (Woland) and his entourage as they visit 1930s Moscow with the story of the Master, a tortured writer, and his love, Margarita. The novel’s satirical elements, its exploration of the absurd, and its deep critique of Soviet society have made it both beloved and controversial.

The film adaptation inherits these complexities and interpretations, often dividing audiences. Some view the film as a faithful adaptation that brings the novel’s rich themes to life, while others criticize its handling of the material, particularly given the current political climate in Russia. Despite these debates, The Master and Margarita remains a critical and popular success, attesting to the lasting influence and power of Bulgakov’s original work.

In Russia, The Master and Margarita by Mikhail Bulgakov is widely regarded as a national literary treasure. Often considered the definitive work of Russian literature in the 20th century, the novel transcended its posthumous publication during the Soviet “thaw” of the 1960s and quickly became a cult classic among the Soviet intelligentsia. Its influence on Russian culture is profound, with many people, from young to old, encouraged to read it by their parents or mentors, and personal opinions on the novel often used as a marker of character and intellectual standing.

Its lines and themes have permeated everyday Russian speech, with quotes like “Never talk to strangers” and “Manuscripts don’t burn” becoming iconic. These phrases, which express the novel’s surreal blend of philosophy, satire, and mystical realism, have been widely cited in Russian society. In fact, some of these lines became so popular that they were used in conversations and became meme-like references long before the term “meme” existed.

The novel, a complex narrative mixing reality with the supernatural, critiques the totalitarian state while exploring themes of love, sacrifice, and redemption. Its continuing cultural relevance highlights its timeless appeal, as it remains a pivotal reference point in Russian literature and society.

New interpretation

In The Master and Margarita, Mikhail Bulgakov intricately weaves together three semi-independent narratives, which center on key figures from different periods: the arrival of Woland (the Devil) and his entourage in 1930s Moscow; the trial of Yeshua Ha-Notsri (Jesus of Nazareth) by Pontius Pilate in ancient Jerusalem; and the intertwined tale of the Master, a writer, and his lover Margarita in Moscow.

The film adaptation by Mikhail Lockshin creatively blends these three narratives while adding a meta-layer: the Master, played by Evgeniy Tsyganov, is depicted as writing a novel about Woland’s adventures in Moscow, which mirrors the real-life author, Bulgakov. This connection between the Master and Bulgakov adds depth to the adaptation, suggesting that the character reflects the author’s own experience and struggles. Tsyganov’s portrayal of the Master, with his resemblance to Bulgakov, strengthens this thematic link between the novel and the film’s depiction of literary creation.

Lockshin’s approach not only pays homage to the novel’s complexity but also highlights the intertwined nature of life and art, blurring the lines between the fictional world of the characters and the real-world experiences of the author.

The film adaptation of The Master and Margarita begins with a dramatic sequence where an invisible Margarita wreaks havoc in the apartment of the Master’s arch-nemesis, the critic Latunsky. This chaotic moment introduces a parallel-universe Moscow from the 1930s, filled with towering skyscrapers and an imaginative depiction of the never-built Palace of the Soviets, crowned with a massive Lenin statue. This striking visual is paired with a futuristic, yet retro aesthetic that contrasts with the Soviet-era Moscow seen in the novel.

The famous opening scene from the book, where Woland and his entourage first appear, is delayed in the film by almost forty minutes. Lockshin adapts this moment by shifting the location from the familiar Patriarch’s Ponds to a more retro-futuristic version of Moscow. Interestingly, this scene was actually filmed in St. Petersburg, giving it a unique visual flavor.

In terms of character development, the film begins with the fateful meeting of the Master and Margarita, a pivotal moment in their tragic love story. This differs from the novel, where their first encounter takes place midway through the book. The on-screen chemistry between Evgeniy Tsyganov (the Master) and Yulia Snigir (Margarita) feels particularly authentic, as the two are a real-life couple, which adds an emotional depth to their relationship in the film.

However, the film’s narrative structure, which jumps between timelines and worlds, may prove disorienting for viewers unfamiliar with the novel. The audience is whisked away from “real” Moscow of the 1930s to the imagined version within the Master’s mind, and then back in time to ancient Jerusalem, creating a layered, sometimes overwhelming, viewing experience. This complex narrative approach mirrors the novel’s intricate structure but demands a level of concentration and familiarity with the source material.

The controversy

The outcry from Russian patriots surrounding The Master and Margarita film largely stems from its depiction of a 1930s Moscow that closely mirrors the modern-day city, especially in its portrayal of police brutality. In particular, the grand ball hosted by Woland, the Devil figure, strongly echoes the infamous “almost naked” parties that have stirred controversy in Russia. Additionally, the film’s representation of the Master being undermined by his colleagues in MASSOLIT—an association of writers in the novel—is seen as a direct parallel to the treatment of contemporary Russian writers. Figures like Dmitry Glukhovsky, Dmitry Bykov, and Boris Akunin, who have been labeled “foreign agents” by the government, have faced persecution similar to the Master’s fictional downfall.

These controversial parallels are seen as especially sensitive given the current political climate in Russia, though they were unintended. The film was completed before the 2022 invasion of Ukraine, but its themes have unintentionally resonated with current events. Many Z-activists, who support the Kremlin, have targeted director Mikhail Lockshin, partially because of his American citizenship. Lockshin’s story is also notable: born in the U.S. to parents who sought political asylum in the USSR in 1986, he grew up in Russia, attended Moscow State University, and later became an outspoken critic of Russia’s invasion of Ukraine. In 2022, he moved to the U.S. in protest of the war, further fueling the controversy surrounding him and the film.

Despite the challenges, the film’s success highlights its cultural impact and the resonance of The Master and Margarita as a timeless work, though its adaptation has stirred intense political debate.

The outcry over The Master and Margarita film reflects the growing divide in Russian society, where art, politics, and identity often intersect. The film’s depiction of 1930s Moscow, with its echoes of present-day Russia, seems to mirror current issues like police brutality and government suppression. The vivid portrayal of Woland’s ball—resembling contemporary high-society gatherings that have sparked outrage—has especially caught the attention of critics. Furthermore, the portrayal of the Master’s downfall at the hands of his colleagues in MASSOLIT has drawn comparisons to how modern Russian writers are treated under the current regime, where figures such as Dmitry Glukhovsky, Dmitry Bykov, and Boris Akunin have been labeled “foreign agents” and face government persecution.

These parallels are seen as controversial due to the film’s completion before the invasion of Ukraine, but they nonetheless tap into a growing tension in the Russian cultural sphere. Despite this, director Mikhail Lockshin has faced intense scrutiny from nationalist groups, partly due to his American citizenship. His personal story—born in the U.S. to parents who sought asylum in the Soviet Union and later growing up in Russia—adds another layer of complexity. After publicly condemning Russia’s invasion of Ukraine in 2022, Lockshin moved to the U.S., intensifying the backlash against him and his work.

Though unintended, these resonances between the film and current events have spurred a backlash, with Z-activists associating the film with anti-Russian sentiment. The political fallout surrounding Lockshin has become an essential part of the narrative around the film, with the director’s personal and professional trajectory deeply intertwined with the film’s reception.

Critical consensus?

Despite the ongoing controversy surrounding The Master and Margarita, the film has garnered overwhelmingly positive reviews. Critics have praised Mikhail Lockshin’s adaptation for successfully translating Mikhail Bulgakov’s complex novel into a cinematic experience that resonates with contemporary issues.

Anton Dolin, writing for Meduza, describes the film as an unexpected success, noting that the novel has finally found a worthy cinematic interpretation. However, Zinaida Pronchenko from Iskusstvo Kino offers a more critical view, stating that while the film might have been considered a collection of clichés under different circumstances, in the current climate, it feels like a revelation.

On the other hand, Nastya Sotnik and Oleg Zintsov from The Blueprint call it a “conceptual statement unique to Russian mass cinema,” and Timur Aliyev of Forbes Life emphasizes the film’s relevance, highlighting how the novel’s themes of creative persecution under state authority resonate strongly in present-day Moscow. Lidia Tsoy of Novaya Gazeta Europe echoes this sentiment, praising the film as both a visual spectacle and a powerful commentary on censorship.

Despite the positive critical reception, there has been no information released yet regarding the film’s international distribution, leaving Western audiences waiting to form their own opinions on this controversial adaptation.

The film adaptation of The Master and Margarita has sparked both praise and controversy, cementing its place as a cinematic statement that has ignited discussion across Russia and beyond. Critic Anton Dolin, writing for Meduza, emphasizes the film’s success in capturing the essence of Mikhail Bulgakov’s iconic novel. He praises it for bringing the complex narrative into a “worthy and successful” cinematic form. However, Zinaida Pronchenko of Iskusstvo Kino notes that while Lockshin’s film may have been seen as cliched under normal circumstances, it now carries an added layer of significance given Russia’s current political climate.

Critics like Nastya Sotnik and Oleg Zintsov of The Blueprint highlight the film’s uniqueness in Russian mainstream cinema, with a distinct conceptual vision that stands out in the current landscape. Timur Aliyev of Forbes Life draws a parallel between the novel’s themes of the creative intelligentsia’s persecution and contemporary Russia, calling it “extremely relevant in 2024 Moscow.”

Lidia Tsoy of Novaya Gazeta Europe describes the film as multilayered, functioning both as a visual spectacle and as a poignant reflection on censorship. Despite its positive reception, the film’s international release remains uncertain, and it is unclear when Western audiences will be able to access the film and form their own opinions.