Review: Primary Colors (1998)
Eric Lurio
Review(c)1998 eric lurio
Primary Colors
Directed by
Mike Nichols
This couldn’t have come out at a more opportune time. It’s silly and profound
at the same time and timely as hell and tells a truth as only a
fictionalization can.
Ages ago, there was a miniseries called “Washington: Behind Closed Doors” with
Jason Robards, Jr. as President Richard Monckton, a thinly disguesed Nixon
clone. Changing the last name, permitted Robards to dig into what he though
was the inner man without doing a Tricky Dickie impression like Anthony
Hopkins would do twenty years later.
Jack Stanton (John Travolta) is to Slick Willie as Monckton was to Tricky Dick.
Travolta gets to delve into the inner Clinton without having to do an
impression. But do we want to follow him there?
We meet Henry Burton (Adrian Lester) the grandson of a beloved civil rights
leader, while he’s following Governor Stanton around during a tour of an inner
city school adult literacy program.
Before he knows it, Henry is recruited into Stanton’s presidential campaign,
thereby getting himself dumped by his radical journalist girlfriend. But
that’s okay, he’s soon shacking up with Daisy Green (Maura Tierney), an
assistant campaign manager.
This is kind of an idealized version of the ‘92 campaign. We WANT to see
Hillery...um...Susan Stanton (Emma Thompson) slap her husband around when she
hears about Gennifer Flow...Cashmere McLeod (Gia Carides) tapes on the tube.
We surely would have wanted to hear like Henry and Libby Holden (Kathy Bates)
did, that the tapes were faked.[well I WOULD]
Elaine May’s writing sparkles and Mike Nichol’s direction is on the money.
Nichols has gotten himself one helluva cast here. Billy Bob Thornton is great
as spinmeister Richard Jemmons, and Kathy Bates gives her best performance
since “Misery,” Larry Hagman gives a truly bravura performance as rival
candidate Freddy Picker
This is, more than anything, about idealism. The Stantons are portrayed as
genuine idealists as are most of the campaign bigwigs.
The question is if you really believe in the principles how far would you go
to put them into effect? Would you just stay pure and attack anyone who
disagreed with you the merest iota like Henry’s girlfriend? Or would you cheat
a bit, and cover up a peccadillo or two like the Stantons?
It’s a question that the last part of the movie attempts to answer to great
effect. More and more it becomes apparent that Libby Holden is more central a
character than Mrs. Stanton is.
Stick another one up on the provisional top-ten list. Every Republican in
congress should see this film.
George Wilcox
CLICK ON CAROLINE.
Dear Caroline Film Reviews at
http://www.geocities.com/Hollywood/Studio/7066
PRIMARY COLORS
Dear Caroline --
It almost seems appropriate that the much-anticipated
political flick "Primary Colors" is as two-faced as its main
character, Gov. Jack Stanton played by John Travolta.
Based on the best-selling book by Newsweek editor Joe Klein,
aka Anonymous, "Primary Colors" follows the eerie parallels of the
Clinton 1992 Presidential campaign. Travolta really is a look-alike,
sound-alike to President Bill Clinton, right down to the home-spun
stories, jogging suits and appetite for women and food. In fact, where
ever Stanton is seen, there is something to eat. In the course of this
movie, Stanton has eaten barbequed ribs, fried chicken, donuts, apple
fritters and Chinese food.
The first half of "Primary Colors" is a wonderful,
humor-filled political satire that rivals Tim Robbins' "Bob Roberts,"
one of the best movies of 1992 that nobody went to see. When Stanton
is accused of an unforgivable sex act, "Primary Colors" makes a wrong
turn near Albuquerque that takes the film in an unexpected direction
that it is not completely able to recover from. The first half may
follow closely to Clinton's first presidential campaign, but the
second half is quite fictional. "Primary Colors" uneasily turns from
comedic satire to moody drama. There is not a single laugh in the
film's second half.
Frank Capra's classic "Mr. Smith Goes to Washington" can pull
off the adjustment from satire to moody drama. Its ending, when Jimmy
Stewart's Smith nearly becomes a beaten man, is as dark as any other
Capra film. I know Jimmy Stewart (figuratively) and Travolta is no
Jimmy Stewart.
It appears director Mike Nichols ("The Birdcage") and
screenwriter Elaine May wanted to have it both ways. The former
University of Chicago comedy partners try to cover all grounds with
subplots right out of TV's "Spin City" and final ethical tests similar
to what Spencer Tracy faced in Capra's "State of the Union."
The satire in "Primary Colors" follows "Bob Roberts," a funny
semi-documentary, behind-the-scenes look at a Pennsylvania
businessman's run for senator. Jack Stanton and Bob Roberts could feel
right at home together as couch potatoes watching college football on
the tube. Actually, they are both frauds. They know it. The voters
don't.
When "Primary Colors" opens, Stanton is a Southern governor
from an unnamed state, who is trying to get known in New Hampshire,
site of the first presidential primary. Ivy-League trained political
advisor Henry Burton (British actor Adrian Lester) is reluctantly
brought in to assist. Emma Thompson plays Stanton's wife, Susan, while
Billy Bob Thornton is the skilled campaign manager and Kathy Bates
steals the show as troubleshooter Libby Holden.
Need a scorecard to find the modern parallels?
Travolta is Bill Clinton, Thompson is Hillary Rodham Clinton,
Lester is George Stephanopoulos, Thornton is James Carville and Bates
is advisor Betsy Wright. There is also a Gennifer Flowers look alike,
who publicizes her affair with Stanton -- Clinton -- through a popular
supermarket tabloid.
Bates clearly steals the show in an Oscar-caliber supporting
performance as the hired gun brought in to fight off troubling news
about Stanton's philandering ways. Bates has mastered the style of the
tough-as-nails, cranky boss.
One problem with May's script is that we never fully get to
know Stanton. Why is he running for president after all, and beyond an
adult literacy issue, what else does he stand for? I guess I shouldn't
feel so badly that I would rather vote for Kevin Kline's Dave rather
than a politician that seems more like the real thing.
In 1993, documentary filmmakers D.A. Pennebaker and Chris
Hegedus released "The War Room," which filmed Clinton's Little Rock
campaign headquarters in '92. It's easy to see how Stanton's small
staff equalled Clinton's inner sanctum, though "The War Room" is set
only a few months after "Primary Colors."
"Primary Colors" clocks in at a too-long 2 1/2
hours. Travolta, who seemingly dances in every one of his movies
("Saturday Night Fever," "Grease," "Perfect," "Pulp Fiction," and
"Michael") gives his worst dance performance of his career since
"Staying Alive."
One trivial note: That's former "Dukes of Hazzard" tow truck
driver, Rep. Ben Jones, as one of Stanton's campaign advisors.
Rating: Two-and-a-half stars
Thinking of you,
Geo. M. Wilcox
Scott Renshaw
PRIMARY COLORS
(Universal)
Starring: John Travolta, Emma Thompson, Adrian Lester, Billy Bob
Thornton, Kathy Bates, Maura Tierney, Paul Guilfoyle, Larry Hagman.
Screenplay: Elaine May, based on the novel by Anonymous.
Producer: Mike Nichols.
Director: Mike Nichols.
MPAA Rating: R (profanity, adult themes)
Running Time: 143 minutes.
Reviewed by Scott Renshaw.
Just so there's no confusion: Jack Stanton (John Travolta), the
"fictional" scandal-plagued Democratic presidential candidate whose
campaign is the subject of PRIMARY COLORS, is Bill Clinton. His ambitious
wife Susan (Emma Thompson) is our First Lady. Stanton's home-state buddy
and campaign strategist Richard Jemmons (Billy Bob Thornton) is James
Carville. The waffling, never-seen Italian-American governor of New York,
called Orlando Ozzio here, is Mario Cuomo. And for that matter, the
"Anonymous" author of the best-selling novel on which PRIMARY COLORS is
based is actually former "Newsweek" writer Joe Klein.
It's ironic that Klein could tell a story about the effect of
scandal-mongering on American politics only by creating a bit of scandal
himself, that he could uncover a few brutal truths only by hiding a few.
It's even more ironic that the film version of PRIMARY COLORS appears just
as President Clinton finds himself entangled in new scandals, virtually
guaranteeing that most coverage of the film will both miss the point
entirely and help make the film's point for it. PRIMARY COLORS isn't
simply a chance to giggle at Clinton's foibles without naming him. This
is a story about giggling at foibles masquerading as serious news, about a
political process which has become a seemingly endless cycle of
mud-slinging and spin control because we continue to create an audience
for it.
In that sense, it's a very similar story to the recent WAG THE DOG,
though simultaneously more human and more cynical. PRIMARY COLORS unfolds
through the eyes of Henry Burton (Adrian Lester), an up-and-coming
campaign pro desperately seeking a candidate worthy of his admiration.
Burton begins to develop what Jemmons calls "True Believer-ism" as
Stanton's campaign progresses, convinced that this is a candidate with
vision and a genuine desire to help others. As revelation builds upon
revelation, however, the questions he has to ask himself grow ever more
troubling. Does it matter that this man who wants to do so much for the
country seems to be doing it one woman at a time? Do the ends of getting
into office where you can do some good justify the means of slinging even
more mud at the opponent than he slings at you? And how can you make
ideas worth anything in a culture where viewers watch an interview with
the Stantons and can only comment that Susan "should wear her hair
longer."
PRIMARY COLORS the movie manages to wrap all of the novel's tough
questions and roman-a-clef characters into a surprisingly funny and
entertaining package. Though the running time of nearly 2-1/2 hours feels
excessive near the end, director Mike Nichols crafts so many sharp comic
scenes that the film never becomes a tedious political science lecture.
He also gets one particularly dynamic performance from a generally solid
cast -- Kathy Bates as Libby, the Stanton's borderline-loony long-time
friend and the campaign's designated "Dust-Buster" (because she's "tougher
than dirt"). Though the role initially seems like just a minor variation
on Bates' brassy, no-nonsense characters in DOLORES CLAIBORNE, THE LATE
SHIFT or TITANIC, Libby eventually develops into the real soul of PRIMARY
COLORS: the last true idealist, a woman whose very sanity depends on the
notion that there has to be a better way to select those who will lead us.
Of course, another performance will draw far more attention, which is
precisely why PRIMARY COLORS couldn't possibly work as well on film as it
does on the page. Without a face, Jack Stanton is a complex and
sympathetic character study representing a wide-spread problem. The
moment John Travolta appears on screen with his salt-and-pepper pompadour,
the titters begin; the moment he opens his mouth and begins his sandpaper
drawl of a Clinton impression, the full-fledged laughs begin. As
effective as Elaine May's script may be -- and Travolta's performance, for
that matter -- plenty of viewers will simply gape at PRIMARY COLORS in
tabloid fascination, thinking of it as THE BILL CLINTON STORY. There's a
sad lesson behind the laughs in PRIMARY COLORS, one you'll be able to spot
in reviews and reactions colored by the lenses of Intern-Gate, Grope-Gate,
or any other Gate: we're getting exactly the leaders we deserve when we
refuse to make their messages matter, and all we can do is throw up an
endless series of Gates in front of them.
On the Renshaw scale of 0 to 10 counterfeit Bills: 8.
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James Berardinelli
PRIMARY COLORS
A Film Review by James Berardinelli
RATING: **1/2 OUT OF ****
United States, 1998
U.S. Release Date: 3/20/98 (wide)
Running Length: 2:20
MPAA Classification: R (Extreme and frequent profanity, sexual
references, suicide)
Theatrical Aspect Ratio: 2.35:1
Cast: John Travolta, Emma Thompson, Adrian Lester, Billy Bob Thornton,
Maura Tierney, Kathy Bates, Larry Hagman, Paul Guilfoyle
Director: Mike Nichols
Producers: Mike Nichols
Screenplay: Elaine May based on the novel by "Anonymous" (Joe Klein)
Cinematography: Michael Ballhaus
U.S. Distributor: Universal Pictures
It would be possible to write pages and pages comparing and
contrasting the reality of Bill Clinton's 1992 Presidential campaign
with the fictional one of Jack Stanton, the candidate in PRIMARY COLORS.
Likewise, it would be equally possible to develop a lengthy piece about
the similarities and differences between the movie and the best-selling
novel upon which it is based. Since more qualified individuals than I
will be penning articles of this sort over the next few days and weeks,
I feel confident that I can narrow the scope of this review (mostly) to
the movie itself, and let others worry about the divisions between fact
and fiction.
Of course, it's impossible not to note that many of the characters
in the film bear a striking resemblance to certain counterparts in the
Clinton camp. Equally noteworthy is the fact that the movie
dopplegangers are portrayed more kindly their respective book
incarnations. This is partially the result of the direction in which
director Mike Nichols (THE GRADUATE, THE BIRDCAGE) has chosen to take
the film. Joe Klein's novel (which he published under the "Anonymous"
pseudonym) is a cynical satire about life on the campaign trail. It's
harsh, blistering, and possesses an edge that the film, a warmhearted
comedy/drama, lacks. And, while the motion picture still makes some
rather uncomfortable points about the sacrifices of virtue necessary to
win an election, its approach is much gentler than that of the book, or,
for that matter, another recent movie, WAG THE DOG, or the documentary,
THE WAR ROOM.
There's merit in briefly running through the film's major
characters and identifying their real-life counterparts, if only to
satisfy the curiosity of those who have seen the picture and aren't
sure. Jack and Susan Stanton (John Travolta and Emma Thompson) are, of
course, Bill and Hilary Clinton. The movie's central figure, whose soul
becomes a battleground between politics and idealism, is Henry Burton
(Adrian Lester), a black version of George Stephanopoulos. Richard
Jemmons (Billy Bob Thornton), a plain-speaking spin doctor, is obviously
James Carville. Campaign adviser Daisy Green (Maura Tierney) represents
Mandy Grunwald, and dirt-digger Libby Holden (Kathy Bates) exhibits
similarities to Betsey Wright. There's also a Gennifer Flowers-type
named Cashmire McLeod (Gia Carides) and a Paul Tsongas stand-in,
Lawrence Harris (Kevin Cooney).
In a nutshell, the film follows a Democratic presidential candidate
from the early days of his campaign, when he's preparing for the New
Hampshire primary, to the vanquishing of his final opponent. Governor
Jack Stanton, who is charisma personified, wins over voters as a result
of his relaxed manner, apparent empathy with his audience, and
refreshingly open approach. ("I'm gonna do something really outrageous -
- tell the truth," he declares at one point. The irony of that
statement, I'm sure, is not lost on anyone.) But Jack has a number of
skeletons in his closet, many of which are associated with sexual
indiscretions, and his advisors work overtime to keep them concealed.
Not everything in PRIMARY COLORS is stripped from the historical
account of Clinton '92. One of the key players in the film, Fred Picker
(Larry Hagman), the "miracle candidate," has no real-life counterpart.
In addition, much of what transpires during the closing half-hour has
little or no basis in fact. It's purely Klein's invention, as filtered
through Elaine May's script. Likewise, the resolution of the Cashmire
McLeod situation is radically different from how things turned out with
Gennifer Flowers.
However, while the film is smart and perceptive in its take on
American politics, it's dramatically weak. Nichols frequently seems
caught in a palpable quandary: is this a satire, a drama, or a
cautionary tale? Because PRIMARY COLORS vacillates uncertainly between
the three, it's not strong as any of them. There's also a question of
whether Nichols and May softened the book to avoid appearing too
critical of the President. Is PRIMARY COLORS an attack, a retreat, or
an apology?
My biggest complaint about the film is the length. At 140 minutes,
it's too long, with several sequences that border on becoming tedious.
I also found Burton's constant moral struggles to be more irksome than
believable. Maybe I'm just too cynical, but I have trouble accepting
that someone that deep in the political process would be beset by so
many doubts. (This, incidentally, was one of my complaints about THE
AMERICAN PRESIDENT.) Humanizing a character is one thing, but making
him too noble, especially in a movie that has a satirical basis, can be
problematic. And, while the parallels between real individuals and
fictional characters are interesting, they can't sustain a feature-
length motion picture on their own.
Some of the problems inherent in adapting a book for the screen are
evident as well. Many crucial relationships (such as the one between
Burton and Green) are left half-developed (we see the two in bed, but
never really understand how they got to that point, or where they go
afterwards). Likewise, two-thirds of the way through, Green disappears
with only a single-line write-out. It's difficult to say where these
elements were molded into their current form (i.e., in the screenwriting
process or in the editing room), but, considering some of what survived
in the final print, it makes for an uneven viewing experience.
With one important exception, the performances are on-target.
Travolta is wonderful as the Bill Clintonesque Stanton, with a Southern
accent, white hair, a pot belly, and a boatload of charisma. Emma
Thompson, effectively shedding her British accent, creates a wonderfully
human Susan, who loves her husband but erects an emotional shield to
ward off being torn apart by his indiscretions. Billy Bob Thornton,
like James Carville, is a scene-stealer, as is Kathy Bates. Solid
support is provided by Maura Tierney, Larry Hagman, and Stacy Edwards
(IN THE COMPANY OF MEN) as Holden's "assistant." Unfortunately, I
wasn't impressed by Adrian Lester's work, and, since the movie is
presented from his perspective, this is a serious drawback. Lester
frequently seems stiff, and his performance is occasionally forced. I
was constantly aware that this is an actor playing a part, not a fully
fleshed-out character.
It will be interesting to see whether the fortuitous timing of this
release boosts the box office numbers. While there's nothing in the
film that relates specifically to the recent allegations surrounding the
President's sex life, there are at least as many parallels as in WAG THE
DOG. Jack Stanton is, after all, a noble, sincere man who genuinely
wants to do good, but is impeded by an overactive libido. And, as Klein
will acknowledge (but Nichols and May will not), any coincidences are
purely intentional.
Copyright 1998 James Berardinelli
- James Berardinelli
e-mail: bera...@mail.cybernex.net
Now with more than 1400 reviews...
The ReelViews web site: http://movie-reviews.colossus.net/
"My belief is that no movie, nothing in life, leaves people neutral. You
either leave them up or you leave them down."
-- David Puttnam
Matt Williams
PRIMARY COLORS
A film review by Matt Williams
RATING: * * * 1/2* out of * * * *
In 1994, an insider's look at a scandal-ridden run for the Democratic
presidential nomination (closely based on Clinton's 1992 campaign) was
written anonymously (former Newsweek writer Joe Klein later claimed true
authorship). Now, the book, Primary Colors, has been made into a movie,
directed by Mike Nichols, and, in light of recent presidential scandals,
seems to be more relevant than ever. But the film is more than a
diatribe against, or a paean in praise of, the president. It is a
fascinating look at the political machinery, and the ethical quagmire,
that surround modern politics.
Jack Stanton (John Travolta) is the governor of a small southern state
running for the Democratic presidential nomination. He is charismatic,
but has several flaws which threaten to doom his campaign, and strains
his relationship with his wife, Susan (Emma Thompson).
The film is told from the point of view of Henry Burton (Adrian Lester),
grandson of a civil rights leader, who is swept away by Stanton's ideals
and helps to organize the campaign. He joins political strategist
Richard Jemmons (Billy Bob Thornton, looking an awful lot like James
Carville), and campaign advisor Daisy Green (Maura Tierney).
Governor Stanton's past repeatedly pops up to haunt him, a fact that his
chief rival, Lawrence Harris (Kevin Cooney), consistently uses to his
advantage. To help clean up the Stanton campaign, Jack and Susan bring
in an old friend, Libby "The Dustbuster" Holden (Kathy Bates).
The acting throughout Primary Colors is superb. It would be worth seeing
the movie for Bates' wild performance alone. She enlivens the atmosphere
with energy in a truly boisterous performance. Travolta does a fair
Clinton impersonation as Governor Stanton, although his accent does
stray a little. Emma Thompson delivers a strong performance as his
suffering wife who can't let anything show that might hurt the
presidential run.
The problem with political movies is that they tend to alienate over
half of their audience by promoting one side or the other, or else the
movie is vague to the point of boredom. Primary Colors treads lightly
on this issue. Though Stanton is clearly portrayed as a Democrat, and
there are a few minor barbs thrown in the way of Republicans, the movie
touches on few actual political issues. In fact, most of the "bad guys"
are fellow Democrats on the same road to the White House.
Rather than issues, the film is primarily concerned about scandals and
spin control. Although the film strays into some obviously non-Clinton
territory, it is difficult to completely separate it from reality
(particularly when certain scenes seem to highlight the President's
current troubles).
Primary Colors' chief problem is its length. It runs about 15 minutes
too long. There are some scenes which could have easily been cut. For
example, midway through the film, the candidate gives a speech to an
assembly of laid off machinists. The scene's only apparent purpose is
to establish Stanton's character, which has already been done in similar
scenes earlier in the film. The extra length isn't long enough nor
tiring enough to be annoying, but it mars an otherwise excellent film.
Republicans, Democrats, and political agnostics should all be able to
find something to like in Primary Colors. It's a funny, and at some
times shocking, look at the modern political process.
Copyright 1998 Matt Williams
- Matt Williams (ma...@shreck.com)
Reviewer for Shreck's Cinema: http://www.shreck.com
Home of over 500 reviews, and information on over 600 upcoming releases
David Sunga
PRIMARY COLORS (1998)
Rating: 2.5 stars (out of 4.0)
********************************
Key to rating system:
2.0 stars - Debatable
2.5 stars - Some people may like it
3.0 stars - I liked it
3.5 stars - I am biased in favor of the movie
4.0 stars - I felt the movie's impact personally or it stood out
*********************************
A Movie Review by David Sunga
Directed by: Mike Nichols
Written by: Elaine May (screenplay), based on the novel by 'anonymous'
(former NEWSWEEK political commentator Joe Klein)
Starring: Adrian Lester, John Travolta, Emma Thompson, Maura Tierney,
Billy Bob Thornton, Kathy Bates
Ingredients:
Presidential primary elections, Bill Clinton-type candidate,
Hillary-type wife, young idealist
Synopsis:
Is he or isn't he? That is the main question in this documentary-like
portrayal of a 1990s Presidential primary campaign. Is presidential
hopeful Jack Stanton essentially a decent man who must be ambiguous and
ruthless, and play hardball politics because the Presidential race
demands it, or is he an ambiguous and ruthless hardball politician who
is only playing at being a decent man in order to get votes?
This is the main substance of the movie PRIMARY COLORS, and the question
remains unresolved even at the end of the movie. As a vehicle for
getting the audience to ask the question, PRIMARY COLORS follows the
'coming of age' of Henry (Adrian Lester), a young black idealist who
joins the staff of Governor Stanton's presidential campaign. Henry is
similar to real life former Clinton aide George Stephanopoulos. Other
campaign staff members in PRIMARY COLORS include strategist Richard
(Billy Bob Thornton), gay Libby (Kathy Bates), and media relations
expert Daisy (Maura Tierney).
At first Henry is enthralled and charmed by Stanton because he believes
he has at last found a decent politician. But as the campaign winds its
way through two sex scandals and mudslinging attacks by political
opponents, Henry learns that Stanton might in fact be a ruthless
pretender. So is he, or isn't he? Henry ponders.
John Travolta plays Presidential hopeful Governor Jack Stanton and Emma
Thompson plays the governor's wife Susan Stanton. They seem to look and
act exactly like Bill and Hillary Clinton (including Bill Clinton's
silvery hair, high pitched voice, and Southern accent). Because the
movie is based on a 1996 'Washington insider' book about Clinton, the
movie dramatizes events that parallel Clinton's first presidential
primary campaign. A large part of their campaign involves dodging a big
sex scandal involving a Gennifer Flowers-type hair salonist named
Cashmere McCleod.
Opinion:
The movie PRIMARY COLORS cannot be separated from the events of real
life. In WAG THE DOG the fictional American President was hit with a sex
scandal and responded by deflecting media attention to a bogus war with
Albania. In real life President Clinton was hit with allegations of
sexual misconduct, and media attention soon turned to an impending
showdown with Iraq.
Today, fresh from the Monica Lewinsky scandal, in which President
Clinton was criticized for deliberately obstructing people from knowing
about his sex life, President Clinton faces more sex allegations from
Kathleen Willey. Similarly, in PRIMARY COLORS, zipper-guy candidate
Stanton faces pressure from accusations that he had sex with a
hairdresser and impregnated a teen baby sitter. And just as the
fictional Stanton beats the scandals, it seems very odd, but Clinton's
approval ratings seem to rise after each new woman.
So what are we to make of PRIMARY COLORS, a movie which concentrates not
on policies or issues, but on whether or not we should trust the lying,
philandering Stanton to be a good President?
In my opinion PRIMARY COLORS is not particularly exciting, and it never
really answers its principle question. It is a well acted movie, and
does an excellent job of depicting complex and relevant people in thinly
disguised real life situations.
Reviewed by David Sunga
March 20, 1998
Copyright © 1998
This review and others like it can be found at
THE CRITIC ZOO: http://www.criticzoo.com
email: zook...@criticzoo.com
Ben Hoffman
Member Online Film Critics Society
PRIMARY COLORS
As of this writing, the Oscars for Best whatever in 1997 have not
yet been named but I would hope that the 1998 Best Actor nominations
will include John Travolta for his performance as Governor Jack
Stanton in PRIMARY COLORS. For that matter, there are many solid
performances by every supporting actor in that very solid and most
entertaining movie. None of that is or should come as a surprise
of course as the screenplay is by Elaine may, and the direction by
Mike Nichols, a proven combination.
In a satire with more truth than poetry, the film is ostensibly
about Bill Clinton's 1992 campaign for the presidency but is much
more than that. For one thing, it shows what kind of a person has
the stamina, the charm, the determination to know what to do to win
. . . and then to let nothing stop him. This is true of most all the
Presidents in the past.
As portrayed by Travolta, Clinton exudes charm. It is easy to see
why people would like him. It is also easy to see how the speeches
he makes on his campaign trail are designed to please the kind of
audience he is addressing. . . and is that not a fact of life in
campaigning? Tell a working class group that your mother worked in
a factory "just as you do so I know what it is like." Tell a
Jewish group that you are a great supporter of Israel. Tell an
elderly group that your opponent (not necessarily true) wants to
tamper with Social Security.
Back in 1993, the documentary THE WAR ROOM gave a good indication
of what campaigning and elections are all about. One thing that
boggled my mind was that after the election, James Carville,
Clinton's campaign manager, married Mary Matlin who was second in
command of the Bush campaign. During the campaign she called Clinton
"a prevaricator, a draft dodger and a philanderer." That tells us
something about the sincerity of all involved and Primary Colors
shows it in even brighter hues.
In addition to Travolta, outstanding performances were given by
newcomer to the American scene but well known for his work on the
London stage, Adrian Lester in his role as Henry Burton, the
campaign manager. Susan Stanton, (Emma Thompson) the Governor's
wife, is portrayed as having a one track mind: win the election
with no regard for how. She wants to be the First Lady and nothing
will be allowed to stop that from happening. Next is Libby Holden
(Kathy Bates) as the tough private confidante of the governor.
Bates is great!
Others in the cast are political advisor Richard Jemmons (Billy Bob
Thornton) and Freddy Picker, (Larry Hagman) a former governor of
Florida, whose one secret indiscretion many years ago can devastate
his attempt to beat Stanton if the Stanton campaign team wishes to
make the news public. Cameos by Rob Reiner, Diane Ladd, Robert
Klein, Geraldo Rivera, Charlie Rose and Larry King.
The film is based on the novel by Joe Klein who kept his identity
hidden for a while by having the author listed as "Anonymous."
Obviously, he was an insider in Washington and knew the scene very
well.
PRIMARY COLORS is entertaining and informative, telling it as it is
with few, if any, holds barred. Go see it!
Directed by Mike Nichols
4 Bytes
4 Bytes = Superb
3 Bytes = Too good to miss
2 Bytes = Average
1 Byte = Save your money
Copyright 1998 Ben Hoffman
Nathaniel R. Atcheson
Primary Colors (1998)
Director: Mike Nichols
Cast: John Travolta, Emma Thompson, Adrian Lester, Billy Bob Thornton,
Maura Tierney, Kathy Bates, Larry Hagman
Screenplay: Elaine May
Producers:
Runtime:
US Distribution: Universal
Rated R: Language, sexual references
By Nathaniel R. Atcheson (na...@pyramid.net)
I don't care whether or not Jack Stanton, the character portrayed by
John Travolta in Primary Colors, is supposed to be Bill Clinton. I've
read that he is, but it doesn't really matter. I certainly don't care
about the book written by "Anonymous" (supposedly the author is
ex-Newsweek writer Joe Klein).
I think the entire situation is intensely silly. If someone is going
to make a semi-biography about how our President got to where he is, why
not just do that? Why all this secrecy? Oh, I suppose that Clinton
wouldn't like a film to be made about him while he's still in office.
Maybe this is just an easy way to tell the story without dealing with
whatever legal boundaries that needed to be crossed.
In any event, this conspiracy stuff didn't give me a positive outlook
on Primary Colors before seeing it, although I expected to enjoy the
film. But I didn't. This film is profoundly uninteresting and
feigned. It's phony in almost every scene, and painfully artificial in
each second of dialogue spewed out of Travolta's mushy, distracting,
Clinton-spoofing voice. I despised almost every moment of this film,
and not necessarily because of Elaine May's script, but because of the
execution: director Mike Nichols fails on a fundamental level to
explain the point of his film. Is it an Intelligent and Cynical
satire? Is it supposed to be a realistic account of how political
campaigns work? Is it intended as a character study of Bill Clinton?
I don't know, and because Nichols goes in so many different directions,
the film is ultimately reduced to a soup of scenes that clash because of
their strikingly varied tones. Some of these scenes work alone, but
many don't, and none of them work herded together in this disaster.
This fact is not enhanced by the heinous, radically annoying performance
by John Travolta, a performance that has permanently made me cautious of
any film in which he may appear in the future.
The film is about Governor Stanton's efforts to win the Democratic
nomination for the Presidential race. The story is told through the
eyes of Henry Burton (Adrian Lester), a young, ambitious man who is
recruited by Stanton and his wife, Susan (Emma Thompson), to manage a
large part of the campaign. Henry believes that he's working for a
great man, and his loyalty is tested through numerous trials, most of
which involve accusations that Stanton sleeps around at every given
chance. A subplot, which becomes the focus towards the end, involves
Kathy Bates as Libby Holden, an old friend of the Stantons who is hired
to see what kind of dirt the press is going to be able to dig up on
them.
Much of the film is supposedly about the relationship between Stanton
and his wife. The relationship the audience gets to see is about as
watered-down as the relationship the American public sees between Bill
and Hilary Clinton. Every intimate discussion, each moment when there
might be a word that isn't politics-related, is absent from this film.
This is clearly intentional on Nichols' part, because I imagine he's
trying to imitate, to an extent, the kind of view we have of the
President and his personal life.
This isn't to say that we see nothing of his personal life, because we
do. We see that he gets "upset" when his wife finds out that he
probably had sex with a teenage girl (does anyone else find the thought
of this action deplorable?); similar reserved displays of emotion are
scattered throughout the film, but none of them paint a picture any
more-defined than the one we all have of Clinton. Perhaps, if the point
of the film is specifically to document the details of a political
campaign, then my qualms with the handling of Stanton's character would
be invalid. But if the point is just to show the campaign, then why go
to all the trouble to make Stanton a replica of Clinton?
I'm not a fan of Clinton myself, but that's irrelevant. Every single
scene that features Travolta--with the exception of none--is totally
plastic and insincere. I didn't believe a word he said at any point
during the film. When he gives his speeches to the uneducated masses
(apparently, the majority of the American public can not read and
continuously get fired from their factory jobs), each word Travolta
utters singed my nerves in a way no performance ever has. Clinton
himself does not irritate me the way Travolta does in this film. When
Travolta has scenes with Thompson, I feel like he's lying to her. When
he's supposed to be "frank" and "honest" with the people around him, I
still feel like he's lying.
And again, if Nichols' point is to satirize the way we all think
politicians constantly lie, then hats off to him. But he's created a
character and a situation, both of which we are clearly intended to care
about, and we do not, because 1) we don't know the guy, and 2) he
irritates us. It simply doesn't work.
In addition, many of the scenes in the film are frustrating and
peripheral to the story. Billy Bob Thornton, for instance, plays a
character named Richard Jemmons who has nothing to do with the film, and
provides only a few scenes that develop his own pointless character.
And the subplot involving Bates' character ends predictably--this entire
portion of the film, which is inserted to show the potential viciousness
of the Stantons, is routinely manipulative, and serves simply as
somewhere to end the film.
Whatever minimal points I obligingly and generously give this film go
to the other actors: Thompson is wonderful, and not given enough screen
time; Lester is also very good, and plays his part convincingly; and
Bates is charismatic as always. None of these actors can escape the
shadow of Travolta's tremendously wretched mockery of Clinton, however.
I've heard that to criticize a film is to create a new one, but I can't
think of what might have made Primary Colors acceptable, or even
watchable, for that matter. Wag the Dog, which was another political
film that I didn't enjoy, was at least consistent and thorough in its
endeavors. Primary Colors wants to be intelligent and insightful, and
maybe it is when it comes to politics. But it has so much extra stuff
for us to consider that it leaves us battered and confused as to what
it's trying to prove. Films this inept and incoherent should be
illegal.
1/2* out of ****
(1/10, F)
**********/\/\/\/\/\/\/\/\/\/\/\************
Visit FILM PSYCHOSIS at
http://www.pyramid.net/natesmovies
Nathaniel R. Atcheson
**********/\/\/\/\/\/\/\/\/\/\/\************
Sridhar Prasad
PRIMARY COLORS
A film by Mike Nichols
Written by Elaine May
Starring: John Travolta, Adrian Lester, Emma Thompson, Billy Bob
Thornton, Kathy Bates, and Maura Tierney
Rated R
During "Primary Colors", I honestly wondered what this film's impact
would have been if we had never heard of Monica. That we did makes
"Primary Colors" all the more powerful. Despite major flaws, and holes
at the end of this modern-day fable, the questions it raises about our
moral state in politics today are without a doubt powerful and
important. The basic question Mike Nichols and Elaine May raise is
this: what part does morals and character play in choosing our
President?
John Travolta turns in a solid, albeit unspectacular, performance as
Jack Stanton, a Democratic progressive candidate who has mastered the
art of the game. He is an impeccable candidate, with populist positions
and an ability to inspire. However, like every other character, he is
extremely flawed, with serious womanizing problems and troubles in his
past. During one of his many campaign stops, he meets Henry Burton
(Adrian Lester). Henry is beginning to question the present state of
affairs, and he wants to be inspired.
Henry and Jack are joined by Susan Stanton, the ambitious wife
played perfectly by Emma Thompson. They are the three who define this
story, it is through their eyes that we see this story unfold. Billy
Bob Thornton is hysterical as Richard Jemmons, a campaign consultant,
and Kathy Bates turns in a marvelous performance as Libby Holder, a
private investigator hired to protect the Stantons from any dirt that
might come at them.
The story follows the primary races, as Stanton battles for the
Democratic nomination. His main rival is Lawrence Harris, a New England
senator who is running on an economic platform that is gaining support.
Stanton has to face all obstacles. He is running against Harris, the
press, his vices, and the past. Early on, we see how Stanton uses lies
and deceit to conjure up an emotional anecdote that connects with a
group of voters. We ask, is this so wrong? Shouldn't a man appeal to
his constituents, because he must be able to inspire them, to make them
believe? Stanton's beliefs are never in question. His flaws are
extreme, especially his womanizing, that which we are introduced to
early and often.
The story follows Stanton and Harris, and is often a raucous comedy
filled with humor to the extreme. However, midway through the campaign
Harris suffers a heart attack. The man who takes his mantle is Fred
Picker, a former governor of Florida who runs an idealistic campaign on
the issues AND on the moral high ground. He abhors campaign finance
abuses, therefore, he runs no ads. He abhors words, so he leads by
action. Picker's campaign sets off a deep contrast between he and
Stanton, whose vices add up tremendously. Slowly, Henry is forced to
make difficult decisions regarding his life, the people he loves, and
the ideals he adheres to.
"Primary Colors" isn't a brilliant film. The beginning is flat-out
hysterical, but the comedy dies down when the movie becomes more of a
character drama/study. It is unevenly paced, too long, and simply
boring at some parts. Yet, it is also deeply emotional, it triggers
responses which generate questions on the system of affairs today.
"Primary Colors" just might be the most important film of the year
because of what it shows about ourselves. It is a mirror to our
society, displaying our faults as people, and displaying the state of
affairs in our nation. It is not about the Presidency. In the end, it
is about ourselves.
FINAL: *** out of ****
Flawed, but important and entertaining nonetheless
Harvey S. Karten
PRIMARY COLORS
Reviewed by Harvey Karten, Ph.D.
Universal Pictures
Director: Mike Nichols
Writer: Elaine May
Cast:John Travolta, Emma Thompson, Billy Bob Thornton,
Kathy Bates, Adrian Lester, Maura Tierney, Larry Hagman,
Diane Ladd, Paul Guilfoyle
"Hitler never looked at another woman after Eva Braun.
Does that make him any better than Jefferson, Roosevelt and
Kennedy?" While this quote by a member of the presidential
campaign team seems to signal that "Primary Colors" is pro-
Clinton, the big question which viewers will toy with in their
post-screening discussion with one another is whether this
high-profile picture is balanced, favoring the president, or
designed to smirch his reputation. Without question,
Governor Jack Stanton (John Travolta) is a stand-in for Mr.
Clinton: every scene in this exploration of his primary election
campaign evokes the pungency of Clinton's struggle for the
top office and the difficulties he faced when confronted with
charges of womanizing. Given the fact that Mike Nichols,
who directed the work and who teams up with long-time
collaborator Elaine May (who wrote the script based on
journalist Joe Klein's novel of the same name), has always
been considered a Clinton supporter, we wonder how he is
able to smudge the former southern governor's reputation as
much as he does.
"Primary Colors" will disappoint those whose exposure to
political film runs exclusively to stories like "The Day of the
Jackal," "The Candidate," "Dave," and any previous offering
that offers either comic sketches or paranoid portraits of the
man in the Oval Office. Its 140 minutes are devoted to a
careful inquiry into the nature of politics and shows more than
any other film to date all that must go into a primary battle--
the heartaches, the exposure of one's private life, the
disappointments, the betrayals. This makes for involving
storytelling for a targeted audience of educated people willing
to listen careful to some precious dialogue and draw
conclusions on subtle points of interpretation. It shows the
current president, who is here given the name of Jack
Stanton, has good features and flaws like anyone lower than
the saints, and one emerges with a new respect for a guy
who was chief executive of a relatively backwater state,
largely unknown to all but political mavens.
Looking and sounding so much like Bill Clinton that one can
almost swear that he is seeing the chief executive himself,
John Travolta turns in a dramatic albeit understated portrait of
a winner who really does listen to the voice of the working
class, who is a touch-feely person who thoroughly enjoys
physical contact of all kinds, and who despite some
exaggerated gestures of sympathy with those who are down
on their luck has a genuine compassion for ordinary people.
The story begins with efforts by the Stanton campaign people
to draft Henry Burton (Adrian Lester) into the crusade,
knowing that this eloquent, charismatic African-American--who
is also the grandson of a great civil rights leader--could do
marvelous things for the candidate's image. Unsure whether
he wants to accept the prestigious position, Burton decides to
observe the man at work and is taken in by Stanton's
empathy with the hapless students at an adult literacy center,
where he tells the gathering a largely phony story of how his
Uncle Charlie won the Medal of Honor but declined an
impressive job offer because he was ashamed to admit his
illiteracy. We are quickly introduced to other members of the
staff, including Richard Jemmons (Billy Bob Thornton), who is
the James Carville stand-in, the articulate Daisy, who
schedules the appointments, and the "dust-buster" Libby
(Kathy Bates), a dynamo lesbian given the mandate of finding
dirt on Stanton's opponent.
So much of the film comes out of recent newspaper
headlines that the movie becomes too predictable in spots, as
when a blond bimbette shows up on national TV to play a
tape implicating the candidate in an affair. In a bizarre
development, a simple black man who had been a friend of
Stanton accuses his pal of getting the man's daughter
pregnant.
A central moral issue raised by the movie is whether it is
ethical or even wise to run a negative campaign. Some, like
Libby, say whether it would benefit Stanton or not, the
candidate should avoid attacking his opponent's personal life.
(When Stanton follows the advice and assails his competitor's
stand strictly on the issue of social security, his popularity
ostensibly rises.) The only scene which calls for a leap of
audience credibility deals with Libby's fate, an unusual
outcome particularly considering the outspoken woman's
apparent thick skin. Kathy Bates steals the show with a
remarkable performance, one that goes over the top when her
character points a loaded gun at the genitals of a sleazeball
who engineered a doctored tape on a national TV interview
program.
Adrian Lester as Henry Burton, Stanton's most important
liaison with the public, remains the center of this epic film, a
man whose ambiguousness toward the governor mirrors the
equivocal feelings of large segments of the American public
about President Clinton. Emma Thompson shows that an
English actress can easily assume the role of an ambitious,
smart American First Lady, and fine performances are turned
in by the ensemble of strategists and adversaries including
Paul Guilfoyle (who brings Burton on board), and Larry
Hagman as Stanton's ultimate opponent, a man who seems
without a single flaw but whose major blemish is discovered
and ethically exploited. Rated R. Running time: 140 minutes.
(C) Harvey Karten 1998
Jason Wallis
"Primary Colors" (1998)
A film review by Jason Wallis
"Primary Colors" * * * * (out of four)
Starring John Travolta, Emma Thompson, Billy Bob Thornton, Kathy Bates,
Adrian Lester, Maura Tierney and Larry Hagman
Directed by Mike Nichols
Rated R for frequent profanity and mature themes
Running 140 minutes
As good a film as Mike Nichols' new political comedy "Primary Colors" is, I
think it is very likely that many people will find it somewhat
dissapointing. The reason for this is simple: it is not nearly as satirical
and vicious as people will be expecting from a movie mocking President
Clinton. So let's get one thing straight right off the bat; if you want to
see a film in the nature of "Dr. Strangelove" or "Network", filled with
blistering social comment, don't see this movie.
Having said that, I still believe this is a superb movie (perhaps because I
wasn't expecting it to be biting political commentary) that takes what
could have turned out as a run-of-the-mill, "Saturday Night Live"-esque
spoof of Clinton and turned it into a fascinating, soft-hearted look into
what it would probably be like being involved in a political campaign. Is
it as great as the films I mentioned above? Of course not. Those are
timeless classics. But when being judged as an informative comedy about the
inner-workings of politics, it really comes off as quite an exceptional
film.
The story, of course, revolves around the presidential campaign of Gov.
Jack Stanton (an obvious representation of Bill Clinton), a dim-witted but
smooth talking and good hearted good 'ol southern boy, more intersted in
eating apple fritters than making public appearences. And you can't really
have a character based on Clinton without having him screw around with
other women besides his wife, can you? So, naturally, he has sex behind his
wife's back with virtually anything that moves (it's nice to finally have
some realism in mainstream movies, isn't it?). His wife (Emma Thompson,
flawlessly shedding her British accent) is completely oblivious to his
sexual escapades, too busy running the campaign to even care if she did
know.
Pretty soon, Stanton starts to encounter some pretty sticky situations, one
of which involoves a Gennifer Flowers-like hairdresser who claims that the
two have been carrying on a long-term affair and even says she has the
tapes to prove it! Is she telling the truth, or merely trying to get
publicity? The scene where we find out the truth is one of the film's best
scenes (there is some competition here).
But even though it may sound like the movie is starring John Travolta and
Emma Thompson, the real star of the show is Adrian Lester as Harry Burton,
a reluctant but loyal political addvisor. Amazingly enough, Lester manages
to carry the movie himself, with Travolta and Thompson taking on what
almost seem like supporting roles. Not that they aren't in it that much,
it's just that it's easier to identify with Harry Burton and his problems
that that of the canidate and his wife's. The film, after all, is seen
through Burton perspective.
Some other members of Stanton's political team include Billy Bob Thornton
as a scene-stealing Richard Jemmons, the governor's redneck, skirt chasing
strategist, Maura Tireney as the secretary-like Daisy Green and Kathy Bates
as the feisty lesbian Libby Holden, fresh out of a mental hospital. The
only actor who is really wasted in a part is Stacey Edwards (remember her
Oscar-callibar preformance in last year's "In the Company of Men"?) as
Libby's live-in (*cough, cough*) assistent. She's only in a few scenes in
the whole film.
It's also very fun to try to match certain key characters to their
real-life counterparts. It's only obvious that the Stantons are supposed to
be the President and First Lady, but "Primary Colors" also takes some
clever jabs at such figures as James Carville (represented here by Richard
Jemmons) and Betsey Wright (Libby Holden in the film).
There's is also alot to be said about Mike Nichols' brilliant direction
(making a nice rebound after the disappointing "Birdcage"). After about
twenty minutes into the movie, I stopped seeing Jack Stanton as Bill
Clinton incarnate, and started looking at him as a real person with real
problems. As much of a screw-up as the guy is, I actually started to care
about him. And any movie that can make you care about a politician has got
to be good.
Copyright 1998 Jason Wallis
Check out Jason's "Filmaholics Anonumous" website at
http://www.geocities.com/Hollywood/Boulevard/7475
Walter Frith
'Primary Colors'
A movie review by Walter Frith
Member of the 'Internet Movie Critic's Association'
http://www.geocities.com/Hollywood/Studio/5713/index.html
How many people remember when Bill Clinton, soon after being elected in
1992, appeared in the spring of 1993 mingling with a group of working
folks, complete with a hard-hat, tool belt and work boots. Clinton took
it upon himself, after the meeting, to discipline an aide using
profanity after the aide supposedly stepped out of line during the
address. This was evident as the President's microphone was still on
and the media had a field day. In fairness to Clinton, every politician
has two faces, one for the cameras, and one for the private
confrontations with staff, family members and advisers. What's the
point of all this? Simple, 'Primary Colors' gives us an insight into
the REAL people running for office.
In 1995's 'The American President', Michael Douglas portrayed a stable
and popular President who was seen spending time with his daughter over
her school work, playing pool in private with his chief of staff and
courting a young woman with all the style, personality and conflict of
regular people. Although 'Primary Colors' takes a deeper and more
iconoclastic look at politics on a much different scale, it has
chronological scenes of strategic planning necessary to win a political
campaign and it manages to entertain and inform while being precariously
off beat.
The major players are John Travolta, simulating brilliantly, a very
Clinton-like Presidential candidate, complete with the right hair,
weight and upbeat, pleasant southern accent. Given the name Jack
Stanton by screenwriter Elaine May, 'Primary Colors' is based on the
novel by Anonymous, now revealed to be former Newsweek writer Joe Klein
and Stanton's mannerism is that of a man who cares about the people,
even in private as his campaign candidly admits that their political
tricks are a defensive mechanism to prevent the status quo from stealing
the election. One scene has Stanton sitting alone in a doughnut shop
talking to a doughnut baker and night server, an employee who works long
hours for little money. Stanton realizes that these are the real
people, the majority avoiding the trappings of special interest. It's a
very memorable scene.
At his side is Stanton's wife and aspiring first lady, portrayed
impressively by Emma Thompson who loses her English accent completely to
play an American. Stanton is joined in his quest for the White House by
Henry Burton (Adrian Lester), who is the grandson of a civil rights
leader and the story is told largely from his point of view. Billy Bob
Thornton ('Sling Blade') is an adviser to Stanton who never lets his
true redneck colors interfere with the strategy of winning the people
over. Rounding out the perennial cast of memorable players is Kathy
Bates as a political spin doctor, brought in to counter the dirty tricks
of Stanton's opponents. Her contribution to the film is of the highest
calibre and she is already a candidate for a Supporting Actress Oscar
next year.
'Primary Colors' asks us to believe nothing,. Using very adult language
and situations, it only intends to expose the inner workings of a
presidential campaign as its running time of 2 hours and 23 minutes is a
swift one as director Mike Nichols re-invents the characters situations
many times to seem like their fresh when they are really relevant to the
previous scenes of vigour, reality and determination to conquer the only
cherished object of politics.....power. And while the film lacks a
certain amount of depth, it makes up for it by itemizing the true nature
of what politicians are, fallible human beings like the rest of us.
OUT OF 5 > * * * *
Visit FILM FOLLOW-UP by Walter Frith
http://home.netinc.ca/~wfrith/movies.htm
Edwin Jahiel
BY EDWIN JAHIEL
PRIMARY COLORS *** 1/2 Produced and directed by Mike Nichols.Written by Elaine
May, based on the novel by Anonymous. Photography, Michael Ballhaus.
Editing, Arthur Schmidt.Production design, Bo Welch. Music, Ry Cooder.
Cast: John Travolta (Gov.Jack Stanton), Emma Thompson (Susan Stanton),
Adrian Lester (Henry Burton), Billy Bob Thornton (Richard Jemmons), Kathy
Bates (Libby Holden), Maura Tierney (Daisy Green), Larry Hagman (Freddy
Picker),Paul Guilfoyle (Howard Ferguson),Caroline Aaron (Lucille Kaufman),
Rebecca Walker (March Cunningham), Mykelti Williamson (the illiterate man),
et al. A Universal Pictures release. 142 minutes. Rated R (language, sex)
Some day in Afghanistan, when they start showing films again and import
"Primary Colors," most viewers will make neither heads or tails of it.
Perhaps a mere handful of Afghans will see it as a movie on the Clintons.
More, but still few viewers --never mind the sty in their eye --will think
it is about the corrupt American electoral system and its strategies.
It would be good if the American public could appreciate the movie both as
Clintonesque and as a kind of docu-drama of our politics, instead of the
just the former, which is the majority perception.
The fact is that "Primary Colors" is the filmization of the eponymous novel
by former Newsweek writer Joe Klein, published with "Anonymous" as the
author. Klein, immediately suspected, at first denied, eventually 'fessed
up.
The book was a "roman a clef," (which means "a novel with a key" in
French), the kind that shows historical facts and real people but disguised
as fiction. The fiction is generally tricky so that the readers have to
solve puzzles of identification. The faithful (with some excisions) movie
version is a "film a clef," but both incarnations are so transparent that
they're not really very clef.
John Travolta plays the Democratic Governor of an unnamed Southern State.
His nom-de-film is Jack Stanton, Jack as in Kennedy, Stanton as in Clinton.
He is running in the Presidential primaries. His wife Susan (Emma Thompson)
is at his side, and she's a damn good campaigner and adviser. To Stanton's
staff --initially one of dedicated amateurs --is added the young idealist
Henry Burton who wants to be part of history, and about whose late
grandfather (someone like Martin Luther King) everyone gushes. Stantonites
include spin-doctor southerner Richard Jemmons, cute Daisy Green,
troubleshooter-fixer Libby Holden, and others.
Jack and Susan are "constructed" to look and sound as humanly as possible
like Bill and Hillary Clinton. Henry Burton, an African American, is
derived from George Stephanopoulos (and played by a Brit) --a clever move
because Stephanopoulos is Greek-American, hence, in terms of politics, a
member of a minority, and Henry is also a member of a minority. Even more
than Stephanopoulos, he reinforces the aura of an all-inclusive, non-racist
entourage. (It also helps to get more black votes, of course). As Jemmons,
Billy Bob Thornton is a projection of James Carville. And so on, down the
line.
The film's opening is an inspired, funny visual and aural essay on the
variety of hand-shakes the Governor uses. It would stand by itself as a
prize-winning short. Then the portrait of Jack is expanded, amplified and
constantly added to. The man is a consummate politico who can pretend,
manipulate, cajole, inspire, move, cheat, you name it, he can do it.
In his first dramatic appearance, in a New York school where he encourages
minority adults to get an education, Stanton follows the sad tale of a
black man whom illiteracy has seriously damaged, raptly and with swelling
tear ducts. He segues with the heartbreaking story of his own uncle, a
Congressional Medal of Honor winner who refused all school scholarships or
civilian offers, because--that was his shameful secret-- he too was
illiterate. Jack concludes with a moving and realistic paean of education.
Now here's a candidate who knows how to listen, who has sensible ideas, who
understands the hurt of others. But hold on! The uncle yarn will turn out
to be pure invention. Hold on again ! If quick-change artist Stanton can
lie like, well, a politician, he can also feel for other people. That's
what makes Jack such a complex, multi-layered fellow, and that's what the
movie captures with amazing accuracy. This goes well beyond the simple
Jekyll-Hyde transformation and into a far more devious and complicated
character.
Jack has the searching eye of a ladies' man eye and a high level of
testosterone. In his case as in others, those traits can be inseparable
from other talents. It's one big ball of wax. I wager that the name "Jack"
was chosen to evoke JFK, not only for fast-thinking one one's feet but for
sexual shenanigans too.
Just being next to Stanton flusters so much the New York teacher who hosted
the meeting that she keeps stumbling on stairs. She later comes out of
Jack's bedroom, while the Governor does not even blink as his helpers,
assembled in the hotel suite, watch her exit. Nerves of steel? Nerve? Both.
The complexity, which extends to most other aspects of the movie, makes
"Titanic" look like child's play, save for the specials effects. The "PC"
director and writer are the once famous cabaret-type duo of Nichols and May
who, separated for years, were reunited on the stage, then for the film
"The Birdcage." Both are devilishly talented.
I bet they hurried to finish "PC" while the Presidential hubbub was at its
then-apex. I also bet that they wished the film could have come out in the
Fall of 1998, since that's when the likeliest Oscar candidates will be
released. While at today's date (late March 1998), "PC" leads the pack by
light-years, the memory of voting Academy members almost always disfavors
pre-summer releases.
Back to Henry, who is inducted in Jack's ranks in a whirlwind recruitment.
In "PC" we follow everyone, but it is Henry whom we watch as the nearly
always present thread, and as though he were the chorus of an ancient Greek
play. It is his actions, observations, reactions and reactions to reactions
that make us, the audience, identify with this decent, able and likable
young man. Henry takes us everywhere, to the mechanisms, agonies and
ecstasies of campaigning, including the New Hampshire primary that ends
with Jack in second place (to general jubilation) well after the story's
mid-point.
Much, if not most of the plot deals with the staff having to counter
rumors, accusations or sometimes deliberate lies, and what seems to be a
severe case of satyriasis (that's the Don Juan syndrome, the male
equivalent of nymphomania). Among them is a phone call that incriminates
Jack as he talks sex with a hairdresser deliciously named Cashmere McLeod.
To the rescue comes gun-toting old pal Libby (Kathy Bates) who seems to
know everything and everyone and is wise to the Age of Electronics. More, I
cannot divulge.
The movie is fast, elliptical, humorous, amusing. It is also raunchy in
speech, acts and behavior. As a farce, it is amoral, immoral, cynical and
very funny. As an expose of political animals it has wild moments and
touching moments. It peeks with savvy into the exhausting process of
running for office, the higher the office, the more killing the effort.
It pulls no punches, but understands Jack Stanton, warts and all. There's a
magnificent night scene, the culmination of the collaboration between
director, writer, set designer and the master cinematographer Michael
Ballhaus. The camera pulls in doughnut-fancier Jack sitting across the
street in a glassed in a doughnut shop, chatting with true sympathy and
empathy with the lone, gimpy employee. It's a rare, quiet interlude, an
Edward Hopper moment of isolation, except that Jack's presence promises
some hope for the proletarian employee. It is also a moving moment of
epiphany for Stanton. And it justifies another scene: as Billy Bob is
quitting his job (he'll come back), he takes his leave of Henry, asks him
to stick with Jack. "This one's worth it."
A speech to laid-off workers, from the heart and with no b.s. is as good as
anything Frank Capra ever did, and far more believable. Events that involve
talk-show hosts Larry King, Charlie Rose, Geraldo Rivera, Bill Maher (as
themselves), or Rob Reiner (as Izzy Rosenblatt), keep hitting the mark.
The Reiner episode catalyzes changes that will affect Jack's rival
candidate. This sets in motion a crazy yet believable chain that ends up
involving ex-Florida Governor Picker (Larry Hagman), who is the soul of
decency --but has a secret.
Hagman underacts with admirable control, at the opposite pole of his famous
"Dallas" performances on TV. Which brings me to the performers. They are a
superb (and superbly cast) cast. As Susan Stanton, Emma Thompson has a
number of choice scenes with terse and fast dialogue as well as reactions.
She is attractive, at times seductive, even sexy. Henry is endearing. Libby
is a great, bossy, volcanic strategist with pit bull determination, yet I
have a feeling that her part is a bit overdone, not in acting but in her
skills. Nor am I too convinced by the final episode that concerns Libby.
(No, I won't give it away. This is, after all, also a political thriller).
Then there's Travolta, that Lazarus of actors who came back from the dead
with "Pulp Fiction." He does very well, yet if you expect a total
impersonation of Bill Clinton you simply won't get it. You might have, in a
stage-play. But in a film, with its merciless close-ups, Travolta can only
be a semi-Clinton.
There's common agreement that the real President is as smart as they come,
a well-educated thinker-doer. I'm not swayed by his Rhodes scholarship
since many scholars, even famous ones, are really duds. Still, the real
Clinton leaves no doubts about his native intelligence.
Travolta can be a very fine actor. He gives a striking, cunning
performance, but he cannot change his spots. If you don't allow Jack his
very own personality; if you concentrate on the Clinton/Stanton parallels
to the detriment of the bigger picture; if you search for convincing
Clintonisms, no matter what Travolta does, he does not exactly radiate with
brains. In any case, directors and witers have to be intelligent, but
thespians don't, so long as they have talent. There's no denying that a
person with Jack's characteristics could be a Governor or President. Or
become a Hollywood star.
" Le mauvais gout mene au crime" (Stendhal)
Edwin Jahiel's movie reviews are at http://www.prairienet.org/ejahiel
Ryan Davis
Primary Colors
3/24/98
Well director Mike Nichols(The Birdcage, Regarding Henry) is nothing but a
talented director, who never fails to be entertaining, and even inspiring
at times. His latest film, a political satire, about the 1992 Democratic
presidential primary is all that and more.
Jack Stanton(John Travolta) is running for president, a big step up from
governor of a southern state. His campaign is being headed by Henry
Burton(Adrian Lester), a ambitious young black man who's grandfather was a
highly esteemed civil rights leader. Other members of the group include his
political strategist(Billy Bob Thornton), his wife(Emma Thompson), Libby
Holden(Kathy Bates), and Daisy(Maura Tierney), together, they form the
weirdest group ever to help win a presidential election. The road to the
White House isn't easy though, along the way they battle a sex scandal and
several skeletons in Jack Stanton's closet.
This is a fun movie, lighthearted and generally amusing. Its filled with
splendid performances from John Travolta(Oscar Nomination in his future),
Billy Bob Thornton(always brilliant), Emma Thompson(great as the power
hungry wife), and Kathy Bates(One of the best things about Titanic).
Unfortunately the movie suffers from a few flaws. The point of view is my
main example, Henry's character was bland and his acting certainly lacked
passion and was rather somber at times. The second flaw was the editing,
it left little bits and pieces of things(for instance Henry's relationship
with his girlfriend) that should have been edited out completely. Apart
from these complaints the movie it worth seeing simply for John Travolta's
incredibly brilliant performance as our beloved(or scorned) President Bill
Clinton, it is certainly a memorable role. Not to mention the mostly great
supporting cast, its highly entertaining and bitterly funny.
Grade: B+
------------------------------
Ryan Davis
rjd...@shore.intercom.net
--------------------------------
Movie Reviews and More:
http://www.intercom.net/user/rjdavis/
Michael Redman
Clinton...err, Stanton, flies his colors
Primary Colors
A Film Review By Michael Redman
Copyright 1998 By Michael Redman
*** (out of ****)
There's a popular maxim that the American public gets exactly the politicians
that it deserves. It's difficult to judge the truth of that because the masses
never really see these men and women, only their public faces. The demand that
they live the life of saints has created a situation where everyone in office
must lie in order to remain there.
The film from the novel by (no longer) "Anonymous" (former "Newsweek" writer
Joe Klein) follows the presidential primary campaign of Jack Stanton (John
Travolta), a very thinly disguised Bill Clinton. Although the book is loosely
based on Clinton's 1992 campaign, it would be a mistake to take it as truth.
Some events are drawn from reality; others are completely fictional.
Told from the point of view of Henry (a darker George Stephanopoulos) Burton
(Adrian Lester), the story is one of difficult decisions. Burton is an
idealistic young black man drafted into the position of campaign manager for
the southern governor. At first he is excited about working for a man who
matches his vision. After a series of scandals, he has to re-think his
position and determine how much he is willing to bend to get his candidate elected.
Charismatic Stanton has a thing for the ladies. He's shown bedding down the
head of a teacher's union, accused of fathering the child of a teenage girl
and is the subject of a Gennifer Flowers lookalike's tabloid tale. Although
potentially a fatal flaw for a politician, his uncontrolled libido is not the
moral dilemma at the core of the film.
Is it justifiable for a politician to tell something different from the
truth? What is the high ground in terms of dealing with damaging personal dirt
about your opponent? These are the major issues at stake.
Stanton genuinely cares about the common man. In a scene reminiscent of
Edward Hopper's painting "Nighthawks", he sits in a Krispy Kreme doughnut shop
in the middle of the night listening to the lone employee explain how he has
to work impossibly long hours just to make ends meet. To demonstrate his
concern and get elected, the would-be president fabricates stories about his
past during speeches. They could have been true, they just aren't.
When campaign investigator Libby Holden (Kathy Bates), a stand-in for real
life Betsy Wright, comes up with information that would sink his opponent
there is the question about what to do with it. Stanton has refused to "go
negative" previously, but this material would guarantee his victory.
Is Stanton God or Satan? It turns out, like politicians in the real world,
he's neither. Admirably the film doesn't provide easy answers, but we do see
that idealism and politics are not good bedfellows...although other campaign
workers might be.
That politicians and their staff are human beings might come as a surprise to
many people. The media and the public tend to see them as symbols and forget
that there's flesh and blood there. If a friend has an extra-marital affair,
it's unfortunate, Maybe the couple can work things out and if not, well, it
happens every day. If the President of the United States does the same thing,
there's moral outrage. In "Primary Colors", the characters are people:
sometimes noble and certainly flawed.
Remembering my experiences as a minor staffer during a congressional race
years ago, the behind the scenes look feels realistic. Nothing is as organized
and unified as it appears from the outside. The intense feelings and abrupt
coming and going of staff members seem about right. It's not a shock when
co-workers end up in bed together.
Director Mike Nichols ("The Graduate", "The Birdcage") has a remarkable cast
here. Billy Bob Thornton who has burst on the cinema scene like a house afire
during the past year plays self-proclaimed redneck spin doctor Henry Burton
Jemmons (or maybe it's James Carville). Emma Thompson is Stanton's wife Hilary
-- err, Susan. Florida governor Fred Picker (possibly inspired by Jerry Brown)
is portrayed by Larry Hagman who has turned out to be quite the talent after
his mundane years on television.
Travolta is outstanding as the good ol' boy with an apple fritter in one
hand, a greasy chicken leg in the other and always talking the talk. Gnawing
on a rib held in his hands, you can tell that he's filled with a gusto for
being alive. That zest is what gets him into trouble, but it's also what gets
him elected. Travolta is one of those actors with such a presence that
sometimes he's "John Travolta" rather than the character. It's a testament to
his skills that just minutes after the film starts, you forget the actor and
see Jack Stanton.
The real standout is Bates. Her inspired off-the-wall (judged safe for the
campaign because, after all, she's been out of the mental institution for
months) pistol-toting lesbian has a fire in her belly for truth and justice.
She dominates every scene she's in. Her sexual persuasion is handled well in a
matter of fact manner. When Burton discovers the actual relationship with her
beautiful "assistant" (Stacy Edwards), it gets no more than a raised eyebrow.
Although you can look for Academy Awards acting nominations next spring,
there are odd moments. When the bigger than life Travolta, Thornton or Bates
is on-screen with some of the lesser-skilled others, the contrast is sometimes
jarring. Lester's adequate performance appears flat when compared.
Clinton's popularity seemingly results from his persona as a real person.
This might mark a turning point in America's future. Politicians as human
beings? Who would have thunk it?
"Michael Redman's thoughtful analysis of the Oscars Presentation"
Only in Hollywood could they take such a lively art form and turn it into
such a boring non-event. It was the "Anti-Titanic".
(Michael Redman has written this column for 23 years and it might be that long
again before he watches another awards show.)
[This appeared in the 3/26/98 "Bloomington Voice", Bloomington, Indiana.
Michael Redman can be contacted at red...@bvoice.com)
--
mailto:red...@bvoice.com
This week's film review at http://www.bvoice.com/
Film reviews archive at http://us.imdb.com/M/reviews_by?Michael%20Redman
Craig Roush
PRIMARY COLORS
Release Date: March 20, 1998
Starring: John Travolta, Emma Thompson, Adrian Lester, Billy Bob
Thornton, Maura Tierney, Kathy Bates, Larry Hagman
Directed by: Mike Nichols
Distributed by: Universal Pictures
MPAA Rating: R (strong language, sexual references)
URL: http://www.execpc.com/~kinnopio/reviews/1998/primary.htm
It's hard to imagine that a movie with a cast so powerful and a theme so
poignant could fall so short of the mark. It's interesting to note that
the A-list cast may be all that keeps this political drama from sinking
into the murky waters of near-obscurity. There's a scene in PRIMARY
COLORS where five or six grown men and women all hug each other around a
plate of barbecued ribs and sing "You Are My Sunshine," and although the
scene is laughable in context, nobody ever stops to think that the
situation is horribly outrageous. Why? Because among the makeshift
chorus are John Travolta, Emma Thompson, and Billy Bob Thornton. Those
three alone have the power and tenacity on screen to turn a silly
sing-along into a fantastic character-building sequence. And perhaps
that's the film's best quality: the character of the cast, from the
leads to the supports.
There's a somewhat-definite line drawn between the two or three lead
roles and the dozens of supporting actors and actresses. The leads,
Governor Jack Stanton (Travolta) and his wife Susan (Thompson), are
clearly the most serious of the lot. Other main characters, like Henry
Burton (Adrian Lester), Daisy Green (Maura Tierney), and Richard Jemmons
(Thornton) are the buffer between the seriousness of the Stantons and
the hazy stereotypes of the rest of the cast. Finally, on the opposite
end of the spectrum, are the numerous two-bit roles that are written off
as hilariously abnormal parts. The range of the cast knows no bounds:
they are the butt of countless racist, sexist, anti-Semetic, and
homophobic jokes, and they are the funniest butt you will ever see.
There is no word in the English language to describe them.
But the story that all of these characters have to follow is based on a
novel that is not well written. PRIMARY COLORS, the novel by Anonymous,
was good as an infomercial on the business of running a Presidential
campaign, but as a story its entertainment value was nil. The movie,
which stays very faithful to its in-print basis, is simply the story of
a virtually unknown governor from an small, unnamed Southern state who
runs for President. Of course, everything the story resembles Bill
Clinton's 1990-91 campaign, but that's quietly brushed off to the side
as mere happenstance. While that may be the media's official line, it's
hard to dismiss John Travolta's salt-and-pepper hair color or his
sweet-as-molasses Southern lilt as happenstance. Emma Thompson, too,
lives up to the fierce political advocate of the current First Lady,
although she doesn't come as close as the book's version.
This movie is not the most powerful motion picture you will see this
year. Its running time of 140 minutes is on the long end of watchable,
especially when the story isn't that interesting and Director Mike
Nichols does not do anything to spice it up. There is no powerful music,
no skillful photography, and no well-written script. This may be a
textbook example of a book's transition into film, but it is not a
thoroughly entertaining film. When the only recent comparison is WAG THE
DOG, which was a better product, I hesitate to say that this is a good
movie. Nevertheless, it may be worth watching for curiosity alone. The
bottom line is that this film's value will be based on viewer merit.
FINAL AWARD FOR "PRIMARY COLORS": 2.0 stars - a fair movie.
--
Craig Roush
kinn...@execpc.com
--
Kinnopio's Movie Reviews
http://www.execpc.com/~kinnopio