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Yet this is the man Putin chose to help him with a very special revelation, the man who will convey to the world the fact that Putin had served as an officer in the feared and hated KGB. It is still the first wave of the democracy movement, a time when admitting this could compromise his boss, Sobchak, a rousing orator who rose to mayor on a tide of condemnation of the secrets of the old regime, of the abuses perpetrated by the KGB. To this day, Shadkhan still questions whether Putin’s choice was part of a careful rehabilitation plan. ‘I always ask why he chose me. He understood that I was needed, and he was ready to tell me he was from the KGB. He wanted to show that people of the KGB were also progressive.’ Putin chose well. ‘A critic once told me that I always humanised my subject matter, no matter who they were,’ Shadkhan recalls. ‘I humanised him. I wanted to know who he was and what did he see. I was a person who had always criticised the Soviet authorities. I endured a lot from them. But I was sympathetic to him. We became friends. He seemed to me one who would drive the country forward, who would really do something. He really recruited me.’[2]

Throughout the film, Putin artfully takes opportunities to stress the good qualities of the KGB. Where he served, he insists in response to a delicate question on whether he abused his position to take bribes, such actions were considered ‘a betrayal of the motherland’, and would be punished with the full force of the law. As for being an ‘official’, a chinovnik, the word need not have any negative connotation, he claims. He’d served his country as a military chinovnik; now he was a civilian official, serving – as he had before – his country ‘outside the realm of political competition’.

By the end of the documentary, Shadkhan appears to have fully bought in. The film concludes with a nod and a wink to a glorified KGB past: Putin is shown surveying the icy river Neva, wrapped against the cold in a fur hat, a man of the people behind the wheel of a white Zhiguli, the boxy car ubiquitous in those days. As he watches over the city with a steely and protective gaze, the film closes to the strains of the theme tune from a popular Soviet TV series – 17 Moments of Spring – that made a hero out of an undercover KGB spy who had infiltrated deep into Nazi Germany’s ruling regime. It was Shadkhan’s choice. ‘He was a person exactly of his profession. I wanted to show how it turned out that he was still in the same profession.’