Sesso & potere

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.

I do not understand the people who did not like the movie. For me this is the greatest political satire since Chaplin's "The great dictator". Both de Niro and Hoffman are great as well. This movie is not about Clinton although they did predict correctly the Kosovo war, and Albanian terrorists. It is about American political system which is made by and for TV. Several lines from that movie ("Why Albania?" - "Why not?", "Albania does not rhyme", "What do you remember about the Gulf war? One smart bomb... I was in that building when we shot that shot", and many more) are impossible to forget because everyday political life does not let us forget them.

One of the fascinating Political Satire smartly directed by Barry Levinson showing how Spin Doctors design and manipulates the show and how Media plays a vital role in building up a perception to its audiences with the principle of 'Seeing is Believing' that too in 90's i.e. before the age of Social Media. About the performances, despite of the presence of DeNiro the show belongs to Dustin Hoffman his screen presence as Hollywood producer highly motivated to pull-off something phenomenal with sheer optimism was just a delight to watch and is another reason to watch this Political drama.

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.

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.