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SOON: THE OREGONIAN SENNA
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Truth and lies, Clooney style
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THUR
Largest Selection of
THE IDES OF MARCH: Directed by George
Clooney. Written by Clooney, Grant Heslov
and Beau Willimon, based on Willimon’s play
Farragut North. Cinematography, Phedon
Papamichael. Music, Alexandre Desplat.
Editor, Stephen Mirrione. Starring Ryan
Gosling, George Clooney, Philip Seymour
Hoffman, Evan Rachel Wood, Paul Giamatti
and Marisa Tomei. Columbia Pictures, 2011. R.
101 minutes. 00011
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I
f you were somehow unaware that
politics can turn the most dewy-eyed
idealists into cutthroat assholes, never
fear: George Clooney is here to disabuse you
of that notion. To be fair, it’s not all Clooney’s
doing. His new fi lm, The Ides of March, is
based on a play by Beau Willimon (who co-
wrote the screenplay). The bitterness springs
from more than one font.
And such shiny, well-acted bitterness it
is. March can’t be faulted for its casting,
nor its lovely if sometimes heavy-handed
cinematography (like that pretty shot of an
ethically compromised man in silhouette
in front of a giant fl ag). The pieces of
this campaign are all lined up, from the
powerhouse actors to the lauded composer,
the respectable star-turned-director to the
leading-man-on-the-rise. But March is a
runner-up at best.
Part of the problem is that the fi lm spends
so much time carefully giving everyone
the tools to fuck over everyone else that
it forgets it’s about people, not puzzle
pieces. Perhaps they’re puzzle pieces in
the hands of rival campaign managers Paul
Zara (Philip Seymour Hoffman, apparently
exerting exactly zero effort) and Tom
Duffy (Paul Giamatti). Zara works for the
handsome and appealing Governor Mike
Morris (Clooney), who evades questions
with practiced, eloquent ease. Duffy works
for the other guy. This is us versus us;
Republicans factor only as the meaner,
tougher politicians who will send their
people out, in an open primary, to vote for
the man they think will be easiest to defeat.
Zara and Duffy are fl ip sides of the
same coin; Stephen Myers (Ryan Gosling)
is the new blood. Young, attractive,
intense, Stephen is the hot up-and-comer,
the next big man on the campaign, which
makes it particularly amusing when
he seems incapable of considering the
potential ramifi cations of his actions. He’s
media smart, maybe, but not people smart.
Gosling’s intense, uncertain charisma
almost turns Stephen into a believable
character, but the fi lm’s opening and
closing scenes show him for what he is:
a mouthpiece for pat phrases that he isn’t
required to believe.
Clooney, in a smallish role, gives good
speech and chastely kisses his wife (whose
name you’ll only know if you catch it
on campaign signs) in one of the cozy
moments the fi lm sets in contrast with the
political bustle. A tousled Marisa Tomei
turns in a nice bit of supporting work as a
reporter who knows exactly how to juggle
and present information to get what she
wants.
Evan Rachel Wood’s Molly Stearns,
cute and brash, gets coffee and gets laid.
(She seems to be the only person around
who can think of anything but the campaign
— with considerable consequences.) After
a snappy fl irtation scene with Stephen,
who can’t keep his mind off Morris even
in the sack, Molly becomes primarily and
frustratingly a plot device. She’s proof that
good guys can do bad things too — an
apparently shocking revelation that knocks
Stephen off his idealistic cloud.
The Ides of March could be called
politically relevant, insofar as it’s a
timely and well-made drama about the
bitter realities of believing in “hope” and
then trying to work within the cracked
and tattered system you’ve been handed.
But don’t mistake relevance for insight.
Watching Gosling’s bright-eyed character
become his dead-eyed Drive persona all
over again holds a certain fascination, but
the rest of the fi lm has an effect rather like
that of watching hours of CNN: You’re
sad, disgruntled and wondering why we
still subscribe to a system that’s built to
destroy any chance for true change. ew
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BAD TEACHER (R)
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CAPTAIN AMERICA: THE
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12:35PM 3:50PM 7:10PM
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HARRY POTTER AND THE
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THE THING (R) - ID REQ'D Fri. - Sun.(1150 215) 435 715 945
FOOTLOOSE (PG-13)
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THE BIG YEAR (PG)
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THE IDES OF MARCH (R) - ID REQ'D
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IMAX: REAL STEEL (PG-13) ★ Fri. - Sun.1245 430 720 1010
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CONTAGION (PG-13)
Fri. - Sun.(1230 PM) 410 PM 640 PM
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MONEYBALL (PG-13)
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THE LION KING IN REAL D 3D - EVENT PRICING (G) ★
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THE THING (R) - ID REQ'D
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50/50 (R) - ID REQ'D
Fri. - Sun.(110) 410 710 1010
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CONTAGION (PG-13)
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Times For 10/14 - 10/16 © 2011
EUGENE WEEKLY OCTOBER 13, 2011 23