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Raoul Peck’s “The Young Karl Marx” opens on Friday, February 23 at the Metrograph in N.Y. and the Laemmle Royal in L.A., with a national release to follow. It is the story of how the youthful Marx and Engels became fast friends and worked together as a team to overcame the obstacles they faced in order to build the first communist organization in history based on a scientific analysis of the capitalist system. For millennia, the lower classes had always dreamed of overthrowing their oppressors and creating a new world based on freedom and equality but it was only in the 1840s that a theoretical basis for such a transformation was developed. At the risk of neglecting to add a spoiler alert, the film ends happily with Marx and Engels sitting down at a table to crank out the Communist Manifesto with Jenny Marx beaming down on them. That was a happy ending to the film even though capitalism lives on ghoulishly 170 years later. So, it is up to us to write our own happy ending today.
Much of the two hours of “The Young Karl Marx” entails events that will not be familiar to most people, including even someone like me who has been involved with Marxist politics since 1967. Adhering to the highest standards of historical accuracy, Peck and co-screenplay writer Pascal Bonitzer, who was the editor of Cahier du Cinema from 1969-1985 during its most rigorously Marxist phase, created an ensemble case that included characters such as Pierre-Joseph Proudhon, Wilhelm Weitling, Arnold Ruge, Moses Hess, et al. Except for Proudhon, who perhaps some CounterPunch readers might recognize as a founding father of anarchism, these men are cloaked in obscurity today even though they were major political figures in the 1840s.
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