Karl Marx would have turned 200 on May 5, and during the last couple of weeks we’ve been noting that more than a few bien pensant types on both sides of the Atlantic manage to ignore – or explain away – the disastrous history of the twentieth century and to view Marx’s legacy with fondness. On Tuesday we examined a recent piece in the Independent, the British broadsheet, arguing that Marx’s time has finally come; today we’ll look at another contribution to the Independent, this one by Kaleem Aftab, who interviews celebrated director Raoul Peck about his new film The Young Karl Marx.
The film is, by Aftab’s account, a hagiography – a loving account of the close friendship between Marx and Friedrich Engels, his collaborator on The Communist Manifesto. Aftab likens the movie to Walter Salles’s 2004 biopic The Motorcycle Diaries, a cinematic billet doux to Che Guevara. “Both films,” Aftab explains, “are more interested in the youthful antics of the protagonists than their later work and exploits.”
This makes sense, if you think about it: such films are intended not for mature, serious audiences who have faced the truth about Communism but for those who still romanticize it. The better, then, to view these figures in their early years, through the pink lens of youthful idealism and intellectual excitement. Better to observe the germination of the ideas than the bloody results thereof.
The other people we’ve been profiling during the past two weeks see Karl Marx as being more relevant now than he ever was. Peck agrees. Like others, he cites the 2008 financial crisis as definitive evidence of capitalism’s unworkability and inevitable failure, even as he refuses to recognize that the deterioration and collapse of one Communist regime after another demonstrates anything whatsoever. “You sum up the articles [by Marx] and it is exactly the description of the 2008 crisis,” says Peck, who was nominated for an Oscar for his 2016 documentary feature I Am Not Your Negro, about the author James Baldwin. “It’s like the children’s book of the history of capitalism and you can trace it until today. So what other proof do you need?”
Peck’s “desire to connect to the present,” writes Aftab, “has led to him make a movie that at times seems like an overly theoretical political analysis, and in other moments like a fun bromance, capturing the hijinks of ordinary young men.” Terrific – a totalitarian buddy movie! Peck’s hope is “that young people will recognise themselves in the film” and take inspiration from it in their efforts to “fight back.” And precisely what, Aftab asks, is crying out “to be fought against right now?” Like others whom we’ve discussed this week, Peck’s answer can be reduced to a single word: Trump.
