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The Apprentice
Ali Abassi's "The Apprentice" attempts a daring narrative venture, framing the origin story of Donald Trump through the lens of Mary Shelley’s Frankenstein. With a cast led by Sebastian Stan as a young Trump and Jeremy Strong as the manipulative Roy Cohn, the film is undeniably ambitious, yet its execution proves to be both controversial and divisive.
The film is divided into two distinct chapters: the first set in the 1970s explores Trump’s formative years under Cohn’s influence, while the second jumps a decade forward, revealing a Trump steeped in corruption and moral ambiguity. This structure promises an engaging exploration of the dynamics that shaped Trump, yet the journey often feels disjointed and lacking in depth. The initial chapter presents a compelling portrait of young Trump, whose naivety is gradually overshadowed by Cohn's ruthless teachings. Stan effectively captures this transformation, imbuing the character with a growing sense of confidence as he learns the dubious tenets of success from his mentor: “Attack, attack, attack,” “Admit nothing, deny everything,” and “Claim victory, and never admit defeat.” These principles are not only the foundation of Trump’s future dealings but also resonate throughout the political landscape, making this portion of the film particularly resonant.
Strong’s portrayal of Cohn is mesmerizing, revealing the complex, predatory relationship between the two men. He deftly embodies a figure who sees potential in Trump, shaping him into a formidable force. The dynamic between the two, marked by an almost romantic obsession, offers a provocative lens through which to view Trump’s rise. The film's strength lies in these character interactions, particularly the tension and mentorship that underpins their relationship.
However, as "The Apprentice" transitions to its second half, the narrative falters. This portion, meant to encapsulate Trump’s ascent to power, suffers from a lack of clear perspective and thematic cohesion. Writer Gabriel Sherman seems to struggle with the weight of his subject, opting for superficial references rather than deep exploration. The film becomes bogged down by an assortment of familiar tropes and personality quirks, akin to the Easter eggs of a superhero film. As a result, the storytelling feels hollow, leading viewers to a frustrating realization: the complexities of Trump’s character and rise are glossed over, reduced to a simplistic narrative of greed and capitalism.
The film’s exploration of Ivana Trump, portrayed with nuance by Maria Bakalova, adds another layer of intrigue. Rather than relegating her to the role of a two-dimensional trophy wife, the film hints at her complexity and the impact of her relationship with Trump. However, her character, much like many others, is underdeveloped, leaving audiences yearning for a more comprehensive narrative.
In summary, "The Apprentice" presents a provocative exploration of Donald Trump’s origins through the lens of a classic horror narrative. While the performances—especially by Strong and Stan—provide moments of genuine intrigue, the film ultimately stumbles in its second act, losing sight of its thematic depth and leaving viewers with a sense of incompleteness. Abassi’s film raises important questions about power and morality, yet it often falls back on reductive conclusions, suggesting that the real story behind Trump remains tantalizingly out of reach. In its ambition to dissect a controversial figure, "The Apprentice" reveals more about its own limitations than it does about its subject.
BUT I did enjoy it very much!
For FNC: Cinéma du Parc - Salle 1 Thursday, October 10, 2024 - 9:30 PM / open everywhere October 11 2024
Rumours
Guy Maddin’s latest film, Rumours, is a sharp, witty satire that delivers both laughter and pointed critique, poking fun at the absurdities of political power while encapsulating the surreal essence of his unique cinematic style. This film unfolds within the confines of a G7 summit gone awry, where seven of the world’s most powerful leaders are thrust into a bizarre crisis. While it may not be Maddin's most groundbreaking work, it remains a cleverly entertaining romp that offers a fresh lens on the follies of governance.
Maddin, known for his creative explosions in films like Brand Upon the Brain! and My Winnipeg, draws viewers into a peculiar world that oscillates between absurdity and poignancy. In Rumours, the comedic premise centers around the leaders convening in a seemingly abandoned gazebo in the woods to address an undefined international crisis. What unfolds is a chaotic, surreal sequence of events that pits these inept power players against strange phenomena, including ancient, zombie-like men and a giant brain lurking in the woods—elements that embody the chaos of real-world politics.
The film boasts a stellar ensemble cast, led by the ever-charismatic Cate Blanchett as Hilda Orlmann, the Chancellor of Germany. Blanchett shines in her role, navigating the film's dark humor with deftness and charm. Her portrayal of a leader adept at managing her image even amidst chaos is both hilarious and hauntingly relevant. Alongside her, Roy Dupuis appears as Maxime Laplace, the Canadian Prime Minister, whose gravity is juxtaposed with the absurdity surrounding him, grounding the film in a sobering reality.
The ensemble is rounded out by memorable performances from Rolando Ravello as Italy’s Antonio Lamorle, who comically hoards cured meats, and Charles Dance, whose portrayal of the American President—oddly British—adds another layer of irony to the proceedings. Each character serves as a caricature of the archetypal politician, showcasing their quirks and flaws while reinforcing Maddin’s critique of political incompetence.
Maddin’s distinctive visual style does shine through, capturing the absurdity of the scenario in vibrant detail, though at times it feels slightly restrained. There are moments when the film hints at a deeper exploration of its themes—governmental negligence, the obsession with public image over genuine action—but it opts for humor over biting satire. It’s a clever choice that invites chuckles, but one can’t help but wonder what a younger, more fervent Maddin might have brought to the table.
Rumours draws comparisons to the sharp political satire of Armando Iannucci intertwined with the surreal storytelling of David Lynch, creating a unique viewing experience. The film expertly highlights how power players prioritize trivial matters as the world crumbles around them, a sentiment that resonates deeply in today’s political landscape. The absurdity of their fixation on press statements over real change is both amusing and tragically relatable.
Ultimately, Rumours succeeds as a humorous critique of political ineptitude, showcasing Maddin’s talent for merging the ridiculous with the profound. While it may not reach the creative heights of his earlier works, it stands as a testament to his enduring vision and love for cinema. With Rumours, Maddin invites both old fans and new audiences to witness his imaginative storytelling—a delightful and thought-provoking escapade that entertains even as it scrutinizes the world we live in.
Cinéma du Musée Thursday, October 10, 2024 - 7:00 PM
LENA GHIO
