Reel Time

By Tom Stoup

Behind the camera, George Clooney has proven a might unpredictable through the technical wizardry of “Confessions of a Dangerous Mind”, the subduedly multi-generational poignancy of “Good Night, and Good Luck.” and… whatever you may wish to call the thing that is “Leatherheads”. With his newest, a political intrigue drama, he may be coming around to a discernable modus operandi, at least in the sense that “The Ides of March” is comparable in several ways, stylistic and with regard to intention, to “Good Night” and perhaps even the brief window biography in “Confessions”. Moreover, this is Clooney doing Lumet, and while familiar it works like a charm.

Chocked with urbanely achieved scenes I feel parents are likely to one day recount to their children in the vein of so many already acclaimed political films, the always nice-looking “Ides” oozes a classic feel and expertly refrains from spoon-feeding. Clooney, who also co-wrote with “Good Night” collaborator Grant Heslov (director of the lackluster Clooney-as-a-flower-child picture “The Men Who Stare at Goats”), trusts us to fill in the blanks, making for an engaging and fulfilling experience. Furthermore, we are often allowed to stay one step ahead of the curve, bringing tongue-in-cheek humor that frequently had me grinning to many moments of development and revelation, though in a sense we do remain partially blindfolded as our vantage is firmly that of our protagonist as opposed to the more common intangible all-seer.

Where “Good Night, and Good Luck.” spoke through a resonating Edward R. Murrow on relevant matters of information media, “Ides” looks to expose with drama the inner workings and unreported scandal of political campaigns just in time to enter our minds for the upcoming 2012 United States presidential race. From luxurious hotel rooms with spreads of complimentary refreshments all paid with campaign donations accessible platform concepts are reworked along with more than a helping of backstabbing that never gets old. Our lead character, a straight-laced prodigy who lives work, all but literally disappearing in to campaigns, becomes a victim of circumstance prescribed a bitter dose of his own medicine and must weigh his options between the converse items you might see glamorized on a television spot – loyalty and betrayal. Our focal candidate is a cathartically candid pipe dream modeled after what one might imagine the idealized version of Obama to be – favoring gay rights, against the death penalty, etcetera. You know, the kind of impossible candidate that just seems to “make sense”. The sort Tea Party members will flee auditoriums in disgusted revolt over. This is the perfect candidate to contrast with the depictedly grueling and ruthless business of winning office.

Wisely restrained, “Ides” is not overloaded with characters this type of film made by, say, Oliver Stone would probably be. Even those integral to the proceedings do not actually appear lest absolutely required for the sake of a plot point. Principally, Clooney himself remains in peripherals – an icon of goals both immediate and longterm; simultaneously player and pawn – as the battle of ruling schlubs Philip Seymour Hoffman and Paul Giamatti catalyzes the central conflict (if anyone in your audience becomes as unusually excited over Hoffman receiving a haircut as I did, just know you’ve spotted a “Punch-Drunk Love” fan). As a tidbit to add to your book of factoids, the ladies of “The Wrestler” Marisa Tomei and Evan Rachel Wood again co-star yet again share no screen time. Don’t worry, it still counts in your Kevin Bacon game, and because no one knows what the Bacon/Wood movie “Digging to China” is, Marisa Tomei did recently co-star with the Baconator in “Crazy, Stupid, Love.”, incidentally also without any screen time shared between the connecting two. Then, the shining star of the film at hand does prominently feature in that romantic dramedy as well, negating the inclusion of Tomei in many future Six Degrees shenanigans.

Of course the man of the hour is Ryan Gosling, whose uniquely, winningly influential sense of humor and quietly mean inner sear are triumphantly showcased for a second time this year (no, the aforementioned “Crazy, Stupid, Love.” does not count as triumphant). With this, “Blue Valentine” and “Drive” fresh in my memory, I feel comfortable making a bold comparison – Gosling here reminds me of a young Al Pacino. Michael Corleone from “The Godfather”, the titular Frank from “Serpico”, even aspects of Sonny Wortzik from “Dog Day Afternoon” – think of these and think of Gosling’s career path and trajectory. The dignifiedly casual man is hot property for great reason and one can only hope he keeps the course with continually excellent cinema the likes of the mentioned titles.

I’m not sure “The Ides of March” is a stronger film than “Good Night, and Good Luck.” simply based on the power of Murrow’s bookending speech, but it certainly is superior entertainment; I was glued to the screen throughout. Indubitably, on the merits of Clooney’s assured hand and Gosling’s veritable talent, “Ides” is one of the year’s best.