R | 1h 58m | Cold War Drama
The “Tetris” video game was one of the most successful exports of the late Soviet era, but it was not a socialist-friendly tycoon like Armand Hammer who landed the deal. Henk (with an “e”) Rogers was not the Soviets’ kind of guy, but the Dutch game designer and salesman picked up so much confidence and optimism from his American education, he refused to take “no” for an answer. Unfortunately, the KGB insisted otherwise.
The story of how the famous game of falling geometric shapes made the journey from the Soviet Union to Gameboys around the world unfolds in Jon S. Baird’s fact-based Cold War drama, “Tetris,” which premieres on Apple TV+.
It turns out, all the interest in “Tetris” was news to the game’s inventor, Alexey Pajitnov (Nikita Efremov), and his employer, the regime’s computer research institute that owned “Tetris” under the terms of Soviet law.
They had only signed a modest desktop licensing deal with Robert Stein (Toby Jones), who resold sub-licensing, involving rights he did not legally control. Rogers was not his biggest potential licensee. That was Robert Maxwell (Roger Allam), the former Labour MP and notorious media baron, whose empire was poised on the brink of collapse.
With all previous deals in question, Rogers, Maxwell, and Stein scramble to secure the international rights to Tetris, free and clear. Both Rogers and Maxwell face financial ruin if they fail. Maxwell (who in real life published a fawning biography of Romanian dictator Nicolae Ceausescu) counts on his connections, including his supposed friendship with Gorbachev (Matthew Marsh, appearing with the help of some eerily convincing makeup).
However, it is Valentin Trifonov (Igor Grabuzov), a corrupt KGB officer looking to feather his nest before the anticipated fall of communism, who poses a real and present danger to Rogers.
The Villains
The Yeltsin years are (not fondly) remembered for their lawless corruption, but the late Gorbachev Era captured in “Tetris” clearly was not much different. Trifonov was hardly alone jockeying for privileges under the next political system.Yet, Gorbachev is notably portrayed in rather ambiguous terms. He is not overtly crooked, but Noah Pink’s screenplay implies the General Secretary might have been more engaged and proactive responding to the corruption around him.
Regardless, there is no question the villains are the KGB, as personified by the serpent-like Trifonov, and Maxwell. Allam’s physical transformation as the disgraced mogul is not nearly as convincing as Marsh’s into Gorbachev, but his preening arrogance is spot-on. (Mercifully, Maxwell’s infamous daughter Ghislaine never appears in the film, but there is plenty of bad behavior supplied by her father.)
Egerton mostly hits the same likably earnest notes as Rogers, but his upbeat energy helps brighten up the mood and drive the film. His screen presence wears well, even when his character makes awkward blunders.
Baird (who also directed the recent “Stonehouse” series) has a good feel for the political and commercial intrigue. The film clocks in just under two full hours, but Baird’s vigorous pacing makes it feel like a sprint. Even though it was largely shot in Scotland (which should be a source of embarrassment to the devolved government), “Tetris” faithfully recreates the dreary, economic depressed look of late 1980s Russia, including the ever-present queues for grocery staples. Plus, the brief retro 8-bit computer-graphic-inspired animated interludes add a bit of whimsy and nostalgia.
This is definitely a film for audiences interested in the political and economic issues at play, rather than gamers. It really is a story of the triumph of capitalism over socialism and government corruption.
Enthusiastically recommended for those who appreciate international intrigue and international commerce, “Tetris” starts streaming on March 31 on Apple TV+.
