In my 2011 review of George Clooney’s political drama The Ides of March, I wrote:
The art of seduction and the art of politicking are one and the same; not exactly a new revelation (a narrative that goes back at least as far as, I don’t know, Shakespeare’s Julius Caesar). Politicians are seduced by power. However, a politician first must seduce the voter. A pleasing narrative is spun and polished, promises are made, sweet nothings whispered in the ear, and the voter caves.
But once your candidate is ensconced in their shiny new office, well…about that diamond ring? It turns out to be cubic zirconium. Then it’s all about the complacency, the lying, the psychodramas, and the traumas. While a lot of folks do end up getting ‘screwed’, it is not necessarily in the most desirable and fun way.
Once again, we are ensconced in a political season chockablock with pleasing narratives, promises, and sweet nothings. For those of us who have been around the block a few times (this November will mark my 13th presidential election), those are all best taken with a grain of salt (I’ve learned a thing or two since casting my ballot for Jimmy Carter back in 1976).
Full disclosure, I am no poly sci major; rather, I am (to paraphrase William Holden in Network) “television generation”, so I “learned life from Bugs Bunny”. Well, Bugs Bunny and I, Claudius:
For about a three-month period in the fall of 1977, every Sunday at 9pm, [my housemates and I] would abruptly drop whatever we were doing (sfx: guitars, bongs, Frisbees, empty Heineken bottles and dog-eared Hunter Thompson paperbacks hitting the floor) and gather round a 13-inch color TV (replete with Reynolds Wrap-reinforced rabbit ears) to rapturously watch I, Claudius on Masterpiece Theatre.
While an opening line of “I, Tiberius Claudius Drusus Nero Germanicus…” could portend more of a snooze-inducing history lecture, rather than 11 hours of must-see-TV, the 1976 BBC series, adapted from Robert Graves’ 1934 historical novel about ancient Rome’s Julio-Claudian dynasty, was indeed the latter, holding U.S. viewers in thrall for its 12-week run.
While it is quite possible that at the time, my friends and I were slightly more in thrall with the occasional teasing glimpses of semi-nudity than we were with, say, the beauty of Jac Pulman’s writing, the wonder of the performances and historical complexity of the narrative, over the years I have come to realize that I think I learned everything I needed to know about politics from watching (and re-watching) I, Claudius.
It’s all there…the systemic greed and corruption of the ruling plutocracy, the raging hypocrisy, the grandstanding, glad-handing and the backstabbing (in this case, both figurative and literal). Seriously, over the last 2000 years, not much has changed in the political arena.
So…is your media player of choice fired up, and ready to go? Excellent! Here are 10 politically themed films I officially endorse for the 2024 race.
Being There – Filmmaker Hal Ashby was an essential contributor to the new American cinema movement of the 1970s. He spanned the decade with an astonishing seven film streak: The Landlord (1970), Harold and Maude (1971), The Last Detail (1973), Shampoo (1975), Bound for Glory (1976), Coming Home (1978), and this 1979 masterpiece.
Like Sidney Lumet’s Network, Ashby’s Being There becomes more vital in the fullness of time. Adapted from Jerzy Kosinki’s novel by frequent Ashby collaborator Robert C. Jones, it is a wry political fable about a simpleton (Peter Sellers, in one of his greatest performances) who stumbles his way into becoming a Washington D.C. power player within an alarmingly short period of time (it suffices to say that stranger things have happened in recent memory).
Superbly acted; from the leading players (Sellers, Melvyn Douglas, Shirley MacLaine, Jack Warden, Richard Dysart) to the supporting roles (especially the wonderful Ruth Attaway).
The Candidate -This 1972 gem from Michael Ritchie (Downhill Racer, Prime Cut, Smile) centers on an activist lawyer named Bill McKay (Robert Redford) wooed by a slick Democratic political consultant (Peter Boyle) into challenging a three-term Republican California Senator for his congressional seat. The idealistic and progressive McKay is initially reticent, as he does not want to be perceived as trading in on his family name (his father is a former governor). Assured that he can set his own agenda, say whatever he wants, and is almost guaranteed a victory due to the lack of Democratic challengers, McKay accepts the offer to run. But you know what they say…if it sounds too good to be true, there’s usually a catch. In this case, it’s McKay’s realization that in the rough and tumble world of politics, the true path to victory is inevitably littered with a discarded ideal or two (compromise, compromise, compromise).
The perceptive, wryly satirical screenplay earned an Oscar for Jeremy Larner (his experience as a speechwriter for Eugene J. McCarthy on the Senator’s 1968 campaign undoubtedly contributed to the film’s air of authenticity). Redford and Boyle are outstanding, and ably supported by a wonderful ensemble that includes Melvyn Douglas, Don Porter, Allen Garfield, and Karen Carlson.
Don’s Party – Director Bruce Beresford (Breaker Morant) sets his story on Australia’s election night, 1969. Outgoing host Don and his uptight wife are hosting an “election party” for old college chums at their middle-class suburban home.
Most of the guests range from the recently divorced to the unhappily married. Ostensibly a gathering to watch election results, talk politics and socialize, Don’s party deteriorates into a primer on bad human behavior as the booze kicks in. By the end of the night, marriages are on the rocks, friendships nearly broken and guests are skinny dipping in the vacationing neighbor’s pool.
Yet, this is not just another wacky party film. David Williamson’s script (which he adapted from his own play) offers many keen observations about elitism, politics, and adult relationships. Savagely funny, brilliantly written and splendidly acted.
Election – Writer-director Alexander Payne and creative partner Jim Taylor (Sideways, About Schmidt) followed up their 1995 feature film debut, Citizen Ruth, with this biting 1999 sociopolitical allegory, thinly cloaked as a teen comedy (which it decidedly is not).
Reese Witherspoon delivers a pitch perfect performance as the psychotically perky, overachieving Tracy Flick, who makes life a special hell for her brooding civics teacher, Mr. McAllister (Matthew Broderick). Much to Mr. McAllister’s chagrin, Tracy is running a meticulously organized and targeted campaign for school president. Her opponent is a more popular, but politically and strategically clueless jock (why does that sound so familiar?).
Payne’s film is very funny at times, yet it never pulls its punches; there are some painful truths about the dark underbelly of suburbia bubbling beneath the veneer (quite similar to American Beauty, which interestingly came out the same year).
The Edge of Democracy– Latin American countries have a long history as ever-simmering cauldrons of violent coups, brutal dictatorships, revolving door regimes and social unrest. In The Edge of Democracy, Brazilian actress and filmmaker Petra Costa suggests there is something even more insidious at play in her country these days than a cyclical left-to-right shift. Costa’s film delves into the circumstances that led to the impeachment of former President Dilma Rousseff, and the imprisonment of her predecessor, the wildly popular progressive reformer Luis Inacio Lula da Silva.
The real coup for Costa (no pun intended) is the amazing accessibility she was given to President Rousseff and ex-President Lula during these events. This is the most powerful documentary about South American politics since Patricio Guzman’s The Battle of Chile. It is also a cautionary tale; “we” have more in common with Brazil than you might think. (Full review)
Grassroots – There aren’t many political biopics that open with the candidate-to-be dressed in a bear suit and screaming at traffic. But then again, there aren’t many cities I have lived in that have a political climate quite like Seattle. A case in point would be the brief but colorful political career of Grant Cogswell, which provided fodder for this film from director Stephen Gyellenhaal.
Cogswell (Joel David Moore) was an unemployed music critic (a polite term for “slacker”) with no prior political experience, who made a run for a city council seat back in 2001. His unconventional grassroots campaign was managed by his friend and fellow political neophyte Phil Campbell (Jason Biggs).
While political junkies may take umbrage that Gyllenhaal’s screenplay (co-written with Justin Rhodes and based on Campbell’s campaign memoir Zioncheck for President) takes a broad approach by favoring the kookier elements of the story, I think most viewers will find his film engaging.
I think it was wise for Gyllenhaal to eschew the political minutiae; otherwise he may have ended up with something of little interest to anyone besides Seattleites. In fact, the best thing about this film is that it (dare I say it?) renews your faith in the democratic process. In these cynical times, that is a good thing. (Full review)
Medium Cool – What Haskell Wexler’s unique 1969 drama may lack in narrative cohesion is more than made up for by its importance as a sociopolitical document. Robert Forster stars as a TV news cameraman who is fired after he complains to station brass about their willingness to help the FBI build files on political agitators via access to raw news film footage and reporter’s notes.
He drifts into a relationship with a Vietnam War widow (Verna Bloom) and her 12 year-old son. They eventually find themselves embroiled in the mayhem surrounding the 1968 Democratic Convention (in the film’s most memorable scene, the actors were actually sent in to improvise amidst one of the infamous “police riots” as it was happening). Many of the issues Wexler touches on (especially regarding media integrity and journalistic responsibility) would be extrapolated further in films like Network and Broadcast News.
Milk – On November 27th, 1978, San Francisco mayor George Moscone and District Supervisor Harvey Milk were murdered in their respective offices at City Hall; both men shot repeatedly at point blank range. Even more shocking (and bordering on the downright bizarre) was the fact that their killer was a fellow San Francisco politician-former District Supervisor Dan White. Gus Van Sant’s 2008 biopic focuses on the life and work of Milk.
Sean Penn plays Milk; the film enters his life journey at age 40, which was when he experienced the epiphany that led to him to dedicate the rest of his life to public service. Using his tiny camera shop in San Francisco’s Castro neighborhood as HQ, Milk quickly garnered a reputation as the city’s leading gay activist, thanks to his relentless drive and a natural gift for community organizing.
The excellent script (by Dustin Lance Black, one of the writers on HBO’s Big Love) is engaging, yet never strays too far from Milk’s own words and deeds. Most crucial to the success of this film is the powerhouse performance by Penn, who never falls into caricature; opting instead to essentially channel the wit, passion and genuine humanity of this remarkable individual. (Full review)
Shampoo – Sex, politics, and the shallow SoCal lifestyle are mercilessly skewered in Hal Ashby’s classic 1975 satire. Warren Beatty (who co-scripted with Robert Towne) plays a restless, over-sexed hairdresser with commitment issues regarding the three major women in his life (excellent performances from Lee Grant, Goldie Hawn and Julie Christie).
Beatty allegedly based his character of “George” on his close friend, celebrity hairdresser Jay Sebring (one of the victims of the infamous 1969 Tate-LaBianca slayings).
This was one of the first films to satirize the 1960s zeitgeist with some degree of historical detachment. The late great cinematographer Laszlo Kovacs infuses the L.A. backdrop with a gauziness that appropriately mirrors the protagonist’s fuzzy way of dealing with adult responsibilities.
Z -This 1969 film was a breakthrough for director Costa-Gavras, and a high-watermark for the “radical chic” cinema that flourished at the time. Yves Montand plays a leftist politician who is assassinated after giving a speech at a pro-Peace rally. What at first appears to be an open and shut case of a violent action by an isolated group of right wing extremists unfolds as a suspenseful conspiracy thriller.
The story (set in an unspecified Balkan nation, but based on the real-life assassination of a Greek political figure back in 1963) is told from the perspective of two characters-a photojournalist (a young Jacques Perrin, future director of Winged Migration) and an investigating magistrate (Jean-Louis Trintignant). The great Irene Papas is also on board as Montand’s wife.
The film is a bit of a stagey talk-fest for a political “thriller” but it is still essential viewing. It’s part Kafka, part Rashomon, but ultimately a cautionary tale about what happens when corrupt officialdom, unchecked police oppression and partisan-sanctioned extremism get into bed together.
Previous posts with related themes:
On Mad Kings, Death Cults, and Altman’s Secret Honor
More reviews at Den of Cinema
— Dennis Hartley
