No matter where you may fall on the political spectrum, there’s a seemingly endless supply of new drama and talking heads. Politics has become an indelible part of American pop culture, both in films and on television. People running for office are basically celebrities (sometimes full-fledged celebs) and any expectation of privacy is mere fantasy. That wasn’t always the case. The Front Runner takes closer a look at the moment things changed and whether or not it’s improved the political landscape over the last 30-years.
For anyone born after the early 80s, the story of Gary Hart is most likely unknown. A rising political star who’d served as campaign manager for George McGovern in 1972, he went on to become a Senator of Colorado in 1975. Hart ran for President in 1984 only to lose the Democratic party nomination to Walter Mondale at the National Convention. Three years later, facing down the end of the Reagan administration, he resigned his Senate seat and became the overwhelming favorite to win the Presidency in the 1988 election. That was until a scandal alleging extramarital affairs broke and derailed his entire campaign in a matter of weeks. Hart has accomplished a great deal in his career, more than many politicians, but this film happens to be about the worst three weeks of his life.
The duty of portraying Hart fell on the sturdy shoulders of Hugh Jackman and he was outstanding. He has a natural charisma that’s hard to hide, even under that noticeable hairpiece. Between his affection for musicals and his affinity for Wolverine, Jackman has never been short on talent and this was the perfect role to display both the charming and intense ends of his range. Hart was a complicated character to play…to say the least. In part, he’s the tragic hero who’s promising career was suddenly shot down but he also who refused to even engage in the conversation and accept some responsibility for his actions. A flawed idealist. Through no fault of his own, Hart is cast in a very sympathetic light despite his indiscretions and that’s a much more attractive sales pitch with the rugged Australian actor in the lead. Jackman is certainly in contention for Best Actor honors but may wind up outside the top-five.
Director Jason Reitman captured the fervent nature of both the campaign trail and the media frenzy which surrounds it with frightening precision. His pacing was spot on and the nearly two-hour film moves swiftly along. There was a manic energy permeating the whole film…driving it along at a relentless clip…a cross between All the President’s Men and Veep. It worked wonderfully from a narrative standpoint because the audience is pitted against itself, cheering for both the idealist politician and the reporters scrambling to uncover his secrets. Thematically, Reitman addressed questions about the role and the power of the press in politics and the roles of politicians in society. It’s ok not to have all the answers to those questions but it’s blatantly obvious lines are being drawn to our current socio-political sphere. With Hollywood’s obvious disdain for the current President, it wouldn’t be surprising to see this film get some heavy attention during awards season but I don’t think it’s quite on that level.
With a film such as this, with so much going on in the script and on camera, stacking the deck with serious talent is a major advantage. John Papsidera assembled a strong blend of veterans and young talent who delivered some excellent supporting performances. Vera Farmiga and J.K. Simmons flanked Jackman as his wife, Lee, and his campaign manager, Bill Dixon, respectively. Both are stalwart performances and the pair act as opposite ends of the pendulum that is Hart’s life. The steadfast, loyal wife on one end and the dedicated, hardworking promoter on the other. Mamoudou Athie had a pivotal role as AJ, the reporter who went from inside support to outside inquisitor. A friend turned foe of sorts who asks Hart some tough questions about his personal life that are the only tip of the iceberg. Athie has an innocence to him that was very effective. Molly Ephraim also played a critical role as Irene Kelly, a campaign staffer who becomes a significant player once the scandal breaks and she’s left to pick up the pieces. It’s easy for the audience to see how distraught she is as her moral compass has difficulty finding true north. Comedian Bill Burr provided just the right amount of sarcasm for a veteran reporter and provided some well-executed levity. Honestly, the cast was exceptional and too robust to get into but included Mike Judge, Kevin Pollack, political pundit Jon Meacham, Spencer Garrett, and Alfred Molina.
It’s always good to have friends and Eric Steelberg teamed up with Reitman to handle the cinematography once again. The pair had worked together on Juno and Up in the Air so there’s obviously a nice working relationship and a shared vision. There were some interesting choices, combining continuous shots with familiar close-ups and using plenty of off-center, docu-style shots to accentuate the chaotic nature of the environment. Costume Designer Danny Glicker and Set Decorator Melinda Sanders made key contributions to the aesthetics of the environment but the film is moving along and changing, so quickly, it’s a bit tough to catch. Production Designer Steve Saklad put together a really cohesive vision to capture Hart’s story and it came out remarkably well.
Themes of privacy, boundaries, professional and personal responsibility abound in this film. Obviously, there are a lot of connections being made between then and now. In the 30 or so years since the events of the film unfolded, media invasiveness has only increased and potential candidates for public office are in the public eye more than ever. While the film cautions against the dangers of such a process and features a democratic candidate, it’s hard not to connect the dots to the media attention placed on Republican representatives today. However, it would seem as though the media hasn’t been able to derail those people in the same way it did with Hart. In part of his concession speech near the end of the film, he suggested the press had created a dangerous precedent that would eventually lead us to elect the politicians we deserve. Take that as you will.
Recommendation: See it for the performances, the energy, and history. A little research and the internet can tell you what happened but an inside look at the moment that shaped the future of American politics made for an entertaining movie. Part history lesson and part biopic.