REVIEW: THE IDES OF MARCH

CAST

George Clooney (Out of Sight)
Ryan Gosling (Gangster Squad)
Philip Seymour Hoffman (The Master)
Paul Giamatti (The Amazing Spider-Man 2)
Evan Rachel Wood (Thirteen)
Marisa Tomei (The Wrestler)
Jeffrey Wright (Source Code)
Max Minghella (The Internship)
Jennifer Ehle (Zero Dark Thirty)
Gregory Itzin (Adaptation.)

Clooney’s story  is set during the week of the Ohio primary race for the Democratic presidential candidate, which has basically come down to a two-man contest between Senator Ted Pullman (Michael Mantell), whose campaign is run by shrewd Tom Duffy (Paul Giamatti), and Governor Morris (Clooney). Morris’s campaign manager is longtime operative Paul Zara (Philip Seymour Hoffman); Stephen Meyers (Gosling) is his number two man. The decisive race in Ohio is close, which much riding on who will get the endorsement (and delegates) of Senator Franklin Thompson, who is angling for a cabinet post. In the midst of all of this, Stephen begins a campaign trail romance with intern Molly (Evan Rachel Wood), who turns out to be the daughter of the head of the DNC. And then things get complicated.The film’s early scenes are its best. The script talks plain and names names, throwing around smart political talk; Meyers and Duffy’s conversation about learning to how to play the game from Republicans is sharp and lucid, while Morris’s comments from the stump about taxation and “socialism” (as well as Zara’s crack that the Republicans “can’t find a nominee that’s not a world-class fuck-up”) are tartly timely. Though some of the details of the campaign stretch credibility (no candidate could proclaim himself as indifferent to religion as Morris does and actually survive a primary for either party), its portrayl of primary politics and their backstage byplay feel authentic;  Gosling and Wood’s two-scenes have a nice zing to them (reminsicent of the screwball comedy homages in his underrated Leatherheads), Clooney’s offhand sense of humor is disarming–see Hoffman and Gosling’s offstage compliments after the first debate, or the business with Wood and Gosling’s tie the morning after their first date–and he draws out some nice directorial flourishes, like the way he handles a late scene with Hoffman going into an SUV.Every member of the cast is utterly convincing. Clooney’s smooth persona has rarely been better employed–both his playful charm and his steely directness. Gosling gets a good, hard arc to play, and he wails on it; the speed which his idealism loop-the-loops into cynicism is dazzling . It’s a memorable turn, even if he calls up a wide-eyed, manic look that will make Drive viewers fear he’s about to break out the hammer. Hoffman gets a showcase scene in his hotel room, a footlights monologue that betrays the film’s stage roots, but he’s so compelling you don’t notice the scaffolding; the way he pivots from cool contempt to utter rage is what good screen acting is all about. Wright is underused, but Clooney juggles the rest of the ensemble cast with ease.

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s