Film Review--W.

W.
directed by Oliver Stone
written by Stanley Weiser
starring Josh Brolin, Ellen Burstyn, James Cromwell, Elizabeth Banks, Jeffrey Wright, Richard Dreyfuss, Thandie Newton, Scott Glenn, Dennis Boutsikaris, Rob Corddry, Noah Wyle



Ah, to win a father’s love. What’s a man gotta do? Apparently according to this film winning the presidency and becoming arguably the most powerful man in the world is not quite enough in the son’s eyes. This film unfurls the flag and dramatizes various events in W’s life that made him into the man he is today.

Early on W is struggling to find himself. He’s a hard-drinking, driftless thorn in daddy’s side. He’s nothing like his brother Jeb who George Sr (Cromwell). sees great potential. In his other son he sees nothing but a drunken bum who just can’t seem to get things sorted out. W drinks constantly, can’t hold a job and routinely pushes his father’s buttons. The Bush name is at stake and W. seems to be doing everything to tarnish it. He gets into Harvard Business School despite his mediocre grades at Yale which Sr. takes credit for because he claims to have pulled some strings. Circumstances are dire, but after all he still remains a Bush and that name has real pull in Texas.

With daddy a congressman and brother Jeb excelling at everything he does, poor Georgie finds himself at a crossroads. He must take charge and make something of himself after as he’s threatening to never escape his father’s impressive shadow. The film never goes into detail as to just how W pulled this off but somehow he manages to master his demons and set to work. He decides to run for Congress but is soundly defeated by the Democratic incumbent. In the process he meets a lovely lass named Laura (Banks) and things begin to settle.

Far from canonizing Bush, this film reveals a man torn by doubt who struggles even as president to put things right. This Bush is unsure in office and relies on his staff to make any important decisions. Above reproach, however, is the man’s sincerity which comes off in every scene. This is never questioned as Stone insists on presenting a character who truly believes what he says and says what he means. In a sense Bush comes across as a bit simpler minded than he’s champions would have us believe. He isn’t forceful, aggressive, or particularly fast on his feet. W is portrayed as a man who appears at times to be out of his depths and the film does nothing to dispel the notion that this is indeed factual.

The real key to this film is in how Stone chooses to present W’s cabinet. Each of them are vital characters who aid and abet in the invasion of Iraq. Of these General Colin Powell (Wright) is the most fascinating as he alone challenges the efficacy of the invasion and clearly seems troubled about the ramifications of such an action. His eyes are haunted and it becomes clear that Stone holds him up as an example of rationality that is nevertheless thwarted by the totality of the decision and his lack of support in the cabinet. It remains a heartbreaking sight to see as we do on television Powell addressing the U.N. and capitulating for the sake of the status quo. The real firebrand of the film comes in the form of Vice President Dick Cheney (Dreyfuss). He’s on the other end of the spectrum from Powell and in a most disturbing scene he shows a series of maps that demonstrate where all the world’s oil comes from and just who the United States has to invade to maintain their position in this industry. It’s sobering and depressing and one of the truly terrifying moments in the film. He also foresees that the war will perhaps never end suggesting a callous rationale for sending yet more troops into harm’s way. The end of the film clearly presents Stone’s feelings on the matter as well as his insistence that Bush does not deserve any glory for the state of his presidency. It’s subtly handled and pictorially stimulating but the end result is a direct question as to just how much blame W deserves for the present state of things.

There is a decidedly melancholy tone to much of this film. Iraq threatens the fine balance between the ascendancy of the man and the harsh, bitter reality which he was faced with post 9/11. The severity of the crisis in the aftermath is played as an understated reminder at just what W was facing as president of this nation at that time. There isn’t a tremendous amount of joy to be found here as the film plays down W’s triumphs and never really gives him an opportunity to celebrate his victories. We see him almost resigned to his post as if he never really wanted to become president and considers it mainly to be a burden that has been thrust upon him.

Thandie Newton plays Condoleezza Rice as if she is about to burst into tears at any time. It is her face that reminds the viewer of the sober message this film is intent on selling. Newton also does something extraordinarily strange with half her face so that it appears as if Rice is slightly paralyzed. Her vocal intonations give her the air of an upper crust society woman from the late nineteenth century.

This is not necessarily George W. Bush unmasked but it does provide a framework that allows the viewer to engage the material in further inquiry. Much of his behavior is public record and perhaps there is a bit of poetic license here and there but the nuts and bolts of W’s life are well cemented here.

The performances in this film are all stellar and add to the legitimacy of the work. Jeffrey Wright is particularly impressive in conveying Colin Powell’s tortured soul over the decision to attack Iraq. Wright projects an intense calm that belies the sadness creeping into his character’s eyes. He presents Powell as a conflicted man who is put into a terrible position and must act contrary to his conscience. Josh Brolin creates a perception of Bush rather than an accurate portrayal. He has the affectations down and gives his character a presence that is less than imposing. He carries forth W’s initial doubts and shortcomings straight through to the White House. Elizabeth Banks is not particularly present in this film. Her Laura is mostly on the sides, out of the way, and doesn’t develop her own personality in this film. Richard Dreyfuss is scary as Dick Cheney. There is something rat like in his demeanor as he calmly lays out the plans for war. Thandie Newton as mentioned creates a peculiar impression of her character that nevertheless seems to capture something vital about her. James Cromwell is formidable as the bee in W’s bonnet. He’s pressing and a bit irritating as a man who has difficulty expressing his emotions to his son.

Overall, this is a passable version of the W mythos. It is filled with great performances and creates a colorful version of the story as it stands. Some will pull it apart for accuracy sake but they will miss the pleasure of discovering the man as a human being with very real flaws that nevertheless have not hindered his progress. Stone is evenhanded for the most part although his final message suggests that he is highly critical of many of the decisions that George Bush has made in the White House. Ultimately, this is a fairly entertaining telling of the life of a man who is none too liked around the world these days. It’s something of a daring move to create a portrait at such a time of a man who is so universally loathed. The film will do nothing to cause detractors to change their minds about the man. If anything they might come away with their most negative impressions more readily confirmed.