The Ides of March,
a political drama written and directed by George Clooney arrives
just as many people in the country are beginning to wonder if President Obama
is capable of sticking to the principals he lauded in his campaign or if he is
no different than any other politician, making compromise after compromise for
political expediency without regard for the values he claims to uphold. That
the movie’s subject matter fits snugly into the current political landscape is
a bit serendipitous, being based on a play originally produced before Barack
Obama was elected to the Presidency.
This is not the first time Clooney has used his films as
political tools. His Good Night, and Good
Luck had as its subject matter the TV news journalist Edward R. Murrow’s
attempt to rally the public around the cause of ousting Joseph McCarthy from
the Senate. That film confronted an American public that needed to be prodded
to ask questions of its government in the face of impending failures in two
overseas wars.
Although both films are clarion calls for political
action, The Ides of March has much
more in common with Jeremy Larner and Michael Ritchie’s The Candidate. Both are about the compromises that have to be made
throughout the political process if you want to 1) win a national election and
2) get anything done in office. At the center of The Ides of March is Stephen Meyers (Ryan Gosling), the junior
campaign manager for Mike Morris (Clooney), Pennsylvania Governor and candidate
for the Democratic Presidential nomination. Meyers works for Morris because
he’s a man of strong principals. He believes the Governor will not compromise
his values to win an election.
This being a movie, we know that someone at some point is
going to fail to live up to the promises of integrity. You can see the gears
turning from the beginning: the campaign is in Ohio in a virtual must-win
primary battle. Campaign manager Paul (Philip Seymour Hoffman) is trying to
harness the endorsement of a Senator who will get some 300 delegates to fall in
line, locking up the primary battle before even heading to the next state. And
to make things even more difficult for Stephen, Tom Duffy (Paul Giamatti),
their rival’s campaign manager, has called him into a private meeting to try to
steal him away from the Morris campaign and work for him. That Stephen takes
that meeting is what sets everything in motion.
It’s a testament perhaps to a combination of both Clooney’s
own integrity as well as his track record as a filmmaker that he is able to
score a cast of well-credentialed and talented actors. In addition to Hoffman,
Giamatti and Gosling, he’s got Jeffrey Wright as the table-turning Senator,
Marisa Tomei as a reporter hungry for a big story that could be Stephen’s
downfall and Evan Rachel Wood as Molly, a young campaign intern who easily
seduces Stephen one night after hours. Rather unfortunately, the screenplay by
Clooney, Grant Heslov and Beau Willimon (based on his play Farragut North) takes what could otherwise be a really interesting
character played by the truly gifted Wood and turn her into a pawn in a male
power play. Her fate in the film is of questionable value and credibility. It
involves a choice Molly makes, the explanation for which is not adequately
provided for in the screenplay. It’s a cheap contrivance designed to shift the
movie into its third act, a move unbecoming for the writing team that gave us Good Night, and Good Luck.
SOME MINOR
SPOILERS AHEAD
In The Ides of
March we have a uniformly well-made film, targeted at grownups (a type of
moviemaking rarely seen these days). The dialogue is top-notch even if the plot
falters. The ensemble acting is about as good as it gets and Clooney is
becoming more and more self-assured as a director with each outing. But
something about the movie left me cold and unmoved. This is ostensibly meant to
be a kind of political call to arms or a wake-up call. But the big revelation is
that everyone in politics is corrupt and everyone is corruptible when pushed to
the brink. This hardly strikes me as particularly ground-breaking, revelatory
or even remotely interesting. Somewhere in this story is a very good movie
waiting to break out, but Clooney and his collaborators didn’t quite dig it
out.
No comments:
Post a Comment