Des hommes d'influence

During the campaign to re-elect the president of America, an underage sex scandal between a girl scout and the president in the oval office. To divert attention spin doctor Conrad Brean is called in to manage the fall out and hold it off for the 11 days till the election. Conrad employs Hollywood producer Stanley Motss to produce a war in Albania to divert the media away from the real story.

This was made before Clinton was accused of misconduct with Monica Lewinsky and the subsequent re-start of military action in Iraq. This seemed to give it a much greater feel of realism and much more credibility. However even before this happened it was still a very sharp and very good satire on political spin, but also managing to have a dig at Hollywood movie types. The story is told in a very stage-play fashion and is dialogue driven with very funny moments throughout. It's not as terrifying as a real look at media manipulation could be because it chooses to be a comedy instead but it still makes plenty of valid points.

The two leads are excellent at the head of an all-star cast. De Niro manages to be a professor-style character while at the same time having an easily accessible sense of menace just beneath the surface. Hoffman is good sending up Hollywood producers well and drawing parallels between the creation of a film and the creation of political news stories. The cast also has a series of cameos and extended cameos who add both humour and quality to the film - Willie Nelson, Denis Leary, James Belsuhi, William H Macy etc.

Recently in the UK we've had huge problems with spin doctors running the Labour Government - to the extent that 11th September was described as "good" by one as it gave them the chance to bury several bad news stories that they had stored up. And more recently with various Governments' waging a media war to win support their stance regarding military action. This film doesn't make hugely serious points but it does make you think about how the media is used to shape public perception and make us think what those in charge want us to think.

Overall a very funny, very clever satire that has a great cast, the only criticism being that it stretches it's point a little too far with the "old shoe" section.

Rarely can film satire make you laugh and be worried about the future at the same time. Levinson's film does just that, with a great cast and great writing, this film succeeds.

You may have noticed that many of the posts and reviews argue that this is not plausible. Obviously these posters do not realize that satire is supposed to be over the top and show what can happen in extremes, and ironically, this came out just after Clinton's sex scandal, and is still relevant today with George W. and will continue to be regardless of the president. Also, some may think it oversimplifies the public as idiots, but this isn't true, especially if they are being deceived and information is withheld. There are some implausibilities, as in why no reporters went to Albania or how other countries didn't get involved other than denying the charges, but these are small and even addressed in scenes with the rival candidates, news reporters and even CIA head William H. Macy.

Really I don't know how anyone can not like this film since it is smart, funny and scary all at once with fine performances and direction all around. This is an American political satire classic that is sadly becoming less satire as time goes on.

OVERALL: 9/10. Buy or at least rent before the satire becomes reality.

Barry Levinson's under-rated "Wag the Dog" is a brilliant piece of satire which is to the 1990s what "All the President's Men" was to the 1970s. The president is in trouble after a sexual scandal with an under-aged girl. Enter Robert DeNiro and Anne Heche who want to distract the nation with something else as they try to get their boss out of the hot seat. The only problem is: nothing is going on. So it is up to them to create something to rally the country around the executive-in-chief. Now enter sleazy, but high class Hollywood director Dustin Hoffman (in a well-deserved Oscar-nominated turn) who is contacted to start an imaginary war. He agrees and the plan works, but as time goes by more and more problems occur and the lies continue to snow-ball. Levinson's excellent direction and Hilary Henkin's clever screenplay raise the performances of all involved. Naturally DeNiro and Hoffman are guaranteed to excel in a film like this, but good work is also done by people like Heche, Denis Leary, William H. Macy, Woody Harrelson and even Willie Nelson (!?). Somewhat ignored in 1997, but still one of the best films of that year and one of the more important films of the 1990s. 4.5 out of 5 stars.

As satirical and surreal as this movie seems, it also has that air of 'Dr. Strangelove' that dialog, scenario's, and actions might not be that far off the mark. Past, present or future. And is scary how 'spin and deflection' has become such an art now. Back in FDR's day with his poliomyelitis, it was just common sense and general agreement to not make it an issue, or use it against him and his leadership. Cut to Bill Clinton and his indiscretion in the oval office, was dragged out and questioned to the point of making him a monster. 9/11 to this day is still questioned by many was it a conspiracy or not? To promote Bush Jr and/or give America good reason to infiltrate the middle east and all? And unlike the mystery of the JFK assassination, 9/11 conspiracy and Republican deflection is more probable and provable with technology and communication - either overtly in front of everyone's eyes, or hacked and exposed via WikiLeaks et al. And even then, it's held with scrutiny, unchallenged, and allowed to wither and fade in everyone's memory. With Wag The Dog, it seems so simplistic at first. DeNiro's 'Mr. Fix It' character seems to know how to handle everything just so. But it also shows the complexity and ease of so many involved that can take a minute piece of information and exploit it or counteract it with a simple leak and denial. And I think it's important to advise viewers to pay attention to the ending. As the supposedly internal mucking and manipulations to secure ones leadership CAN have an effect on another region of the world as a gateway trigger effect. Can we ever re-establish 'real news' over 'fake news' today and for the future...?

I saw this before the brouhaha with Clinton and Lewinsky broke, and I imagine most of the negative comments about this film came because they saw it after and thought this was a Nostradamus film. When I saw it, I thought it started a bit slow, and was a bit too self-satisfied (like the scenes of people crying at a concert; that seemed fake). However, for most of the way, this is sharp, biting, and yes, funny, though when I first saw it, I thought it was more accurate in its Hollywood satire than on its government satire. Time, of course, proved me wrong.

David Mamet will never be universally loved, because not only does there seem to be a large group that doesn't get him, but that thinks those of us that like him are degenerates. Myself, I happen to think he's one of the best playwrights and screenwriters working today (though I'm split so far on his novels). His writing may be highly stylized, but I guess I'm in tune to the rhythms of his dialogue. And he doesn't assume his audience is dumb; rather, he seeks to challenge them by asking you to come to your own conclusions, rather than hit you over the head. And he does that very well in this movie; at the beginning, we may think Conrad Brean and Stanley Motss are real sleazebags, but at the end, while we deplore the action they take of faking a war just for political ends, we can't quite dismiss them either.

Of course, a lot of that has to do with the performances of Robert DeNiro and Dustin Hoffman (Anne Heche is also a standout as Winnifred Ames, the increasingly bemused presidential aide). DeNiro seems at first like a teddy bear here, with his beard, his hat, and his bow tie, but he transfers the energy associated with his more volatile roles (TAXI DRIVER, RAGING BULL, GOODFELLAS et al) to guile and street smarts here. The way his eyes probe whoever he's talking to, and the way he anticipates almost every verbal comeback the other person has demonstrates that(he can't anticipate every event, of course, but once he gets used to it, he can).

But the standout here is Hoffman. There's been a lot of comment on Hoffman basing his character on Robert Evans. My own theory is he read Lynda Obst's excellent book HELLO, HE LIED, which talks about the producer's role, and simply played that. I formed that theory because of his mantra whenever things go wrong, "This is nothing!", especially when Winnifred reads him the riot act after their plane crashes. There's a part in the book where Obst talks about having to argue budget with the studio, and realizes it's all a game where they have roles to play; she argues for more money, the studio for less. Just as Winnifred's role is to be pessimistic, and Stanley's is to be optimistic. And Hoffman never condescends to Stanley, instead showing a talented, maybe amoral guy who deep down is so insecure that he values credit even over his life("F*** my life, I want the credit!" is one of the best lines of the film"). Contrary to his line, this film is not nothing.