Apprentice: A portrayal of narcissism run amok
Donald Trump and his advisers have made it very clear they
would sue any film company that would have the temerity to distribute Ali
Abbasi’s The Apprentice. Credit Briarcliff Entertainment for taking a
flyer on the film, which is taking advantage of some fortuitous timing,
releasing it only three weeks before the presidential election.
Based on real events, the script by Gabriel Sherman is a
fascinating portrayal of one man’s relentless pursuit of greed, power and, most
importantly, recognition. It’s 1974 and New York City is in ruins, ravaged by
high unemployment. In addition, large portions of the metropolis have fallen
into disrepair and crime is running rampant. Donald Trump (Sebastian Stan) has
grand plans for himself, but at the moment, he’s nothing but an errand boy for
his father, Fred (Martin Donovan), sent out to collect the rent from the
tenants who live in the rundown tenements they own. What with a discrimination
lawsuit filed against them, the elder Trump’s burgeoning empire is in danger of
being dissolved.
Enter Roy Cohn (Jeremy Strong), the high-profile attorney
who was influential in convicting Julius and Ethel Rosenberg of espionage, in
addition to being Joseph McCarthy’s right-hand man during the infamous
communist witch hunt in the 1950s. Ruthless and without conscience, the lawyer
not only helps get the threatening lawsuit dismissed but takes the younger
Trump under his wing. Donald takes to his teachings like a duck to water and
his fate, and eventually, our nation’s fate, is sealed.
Many of the incidents portrayed in the movie are well-known
to anyone who’s followed Trump’s ascent or taken in the sordid details about
him that have emerged. We witness his callous indifference toward his troubled
brother, Freddy (Charlie Carrick), his failure to pay his contractors, his
disregard for those who helped him and an incident of sexual assault that
occurred between him and Ivana. Abbasi and Sherman hold nothing back and will
likely come under fire for presenting a distinct, one-sided portrait of their
subject. I’m not a legal expert, so I’m not sure if slander is being committed
here, but there’s no question as to the filmmakers’ intentions.
Stan is remarkable, slowly morphing before our eyes into the
narcissistic monster Trump becomes. Over the course of the film, he gradually
introduces the vocal cadence and physical tics that have come to define him and
become the subject of parody. It’s a fascinating transformation that’s never
less than captivating. Strong is equally arresting, his reptilian appearance
and gestures a perfect complement to the character’s cold-blooded approach to
others. Bakalova rounds out the trio of principals, bringing a strength and
intelligence to Ivana that most representations of her neglect. Par for the course, the actress is underused.
The Apprentice will likely not sway anyone’s opinion
of Trump. His supporters won’t bother to
watch it and his detractors will take it as a validation of their opinion of
him. Still, the film has merit as it serves as a cautionary tale not simply for
those who willingly compromise their character to get ahead, but to those who
stand idly by and allow people of this sort to succeed. In theaters.
Super/Man gives the gift of inspiration
“We need all the heroes we can get.”
So said Christopher Reeve, long before he knew what sort of
hero he would really become. The
prophetic nature of his statement is only trumped by the irony attached to it.
Ian Bonhote and Peter Ettedgui’s Super/Man: The Christopher Reeve Story, is a deeply moving chronicle of the actor’s life, one filled with highs many of
us dream of, and lows none of us wish to contemplate. Utilizing archival
footage and new interviews, as well as passages from Reeve himself taken from
his audio narration of his book, Nothing is Impossible, the resulting
documentary is an intimate, poignant look at the actor’s trials and triumphs.
Sliding back and forth along the timeline of Reeve’s life,
the film begins with remembrances from his three children, Matthew, Alexandra
and Will. Each fondly recalls their father’s relentless drive and curiosity,
his eagerness to learn and experience new things seemingly boundless. This
segues to their memories of first hearing the news of the accident that would
leave Reeve permanently paralyzed from the neck down at the age of 42.
Bonhote and Ettedgui’s approach towards the story,
interspersing information about Reeve’s career and personal life as we see him
struggle during rehab and ultimately find his purpose, serves the film well.
Interviews with Susan Sarandon, Glenn Close, Whoopi Goldberg, Jeff Daniels
relate what kind of peer and friend he was while conversations with his
children and ex-partner, Gae Exton, provide a more intimate look.
And while Reeve’s approach to his condition is commendable,
the film makes the argument that his wife, Dana, was the true hero throughout
their shared trial. Not only does the actor recount how her actions and words
inspired him to go on, but his children heap well-deserved praise upon her. In
home movies, we see her indefatigable approach to the daily grind the couple was
forced to face. Always a smile on her face, never a complaint heard, her
example is one her children have taken to heart, continuing her and their
father’s work with the Christopher Reeve Paralysis Foundation.
While viewers are aware of how the Reeve’s story ends, the
purpose of the film is to remind us of their activism and the need to continue
their work. In a movie brimming with inspirational moments, perhaps the most
moving is footage of the actor late in his life, beginning to recover the
ability to move. To be sure, his motions are minor and become only slightly
more pronounced, yet the promise of these actions are profound.
More than anything, Super/Man prompts the viewer to
think beyond themselves and their troubles. The Reeves’ belief that nothing is impossible,
and hope is the engine that solves all problems, is applicable to us all. The examples they set are invaluable and
prove to be the movie’s true gift. Reeve was right when he said we need all the
heroes we can get. Super/Man powerfully reminds us that we just need
look in the mirror to find one. In theaters.
Deux a daring look at madness
Todd Phillips is nothing if not consistent with Joker 2:
Folie a Deux, a daring sequel that plumbs further into the uncomfortable
themes brought to the fore in the 2019 blockbuster and has the strength of its
convictions to put the stigma surrounding mental health in the spotlight.
The action picks up some two years after the Joker’s
(Joaquin Phoenix) appearance on “The Murray Franklin Show,” which led to the host’s
death and widespread rioting in Gotham City. With his trial about to begin,
Arthur Fleck (Phoenix as well) is resigned to his fate, not interested in
putting forth much of a defense. That is, until he meets Lee Quinzel (Lady
Gaga), a fellow inmate at Arkham Asylum.
Kindred souls, they have an immediate connection and soon Fleck finds
the will to go on. Eager to be vindicated so that he might be set free to start
life anew with his psychotic lady love, he slowly starts to assume the identity
of the Joker once more. It’s obvious this is the part of him Quinzel is
attracted to, as is an ever-growing group of supporters who see the maniac as a
symbol for all those forgotten and oppressed by society.
The interplay between the two leads has the necessary spark
needed to make their twisted relationship convincing. Phoenix and Gaga’s
off-beat personae perfectly compliment their characters and the dark storyline.
Both needing to escape from the miserable lives, the viewer is privy to
elaborate song-and-dance numbers that take place in their minds, each
expressing their passion for each other. Thankfully, these tunes are from the
Great American Songbook, standards such as “I Got the World on a String,” “If
You Go Away” and the like, all solid choices, sincerely rendered. However, what
starts as an interesting novelty gets old very quickly as these numbers are far
too frequent, bogging down the story and robbing the film of narrative
momentum.
Examining how the Joker is perceived is the movie’s
strongest suit, as this innocent man has become an unexpected symbol of
anarchy, embraced by the masses craving a sense of validation. In Fleck, they
see themselves – abused, downtrodden, brushed aside. And in the Joker, they see
who they want to be, a figure willing to upset the status quo, regardless of
the cost, who loudly proclaims that he and anyone society would rather forget,
deserve to be recognized. Of course, the truth is, those who follow the Joker
have little to nothing in common with him and are simply projecting what they
need from a champion on a willing mirror of a man. Whether this is a reflection
of a certain candidate for the highest office in the land and his followers, I
will leave to you.
Phillips and Phoenix’s sympathetic approach to Fleck is what
gives the film its power and relevance. As with the first entry, this is a plea
for services for those suffering from mental illness, a responsibility our
country has been negligent in addressing. In making this its focal point, Joker:
Folie a Deux is the most daring film to come out of a Hollywood studio this
year, a movie that bravely takes a stand and defends it, regardless of how it
may be perceived or its profitability. To be sure, it’s a hard watch, but
there’s much to be admired here and its message is one that we ignore at our
peril. In theaters.
This article appears in Finding a way forward.
