How refreshing it was to watch the first three-quarters of The Contender and see a film that was perfectly well balanced. Conservatives see a film about a righteous Congressman (Gary Oldman) standing up for his beliefs and blocking an affirmative action Vice-President at the expense of more qualified candidates. Liberals see a film about a brave Senator (Joan Allen) who cops abuse about her personal life during a confirmation hearing and refuses to engage because its none of their business and a man would never be subject to such treatment.
Rod Lurie's film is obviously inspired in parts by Aaron Sorkin's then The West Wing, which had just debuted to critical acclaim. As a director, he has his moments but fails in his attempts to emulate the walk-and-talk mastered by Thomas Schlamme. Camera movements are clunky and cuts become necessary, but they are hugely obvious and distracting. During one scene, the camera moves from foot level to focus on Sam Elliott's face, but halfway up it stops and fixates on his chest for several seconds. It looks like someone dropped the camera, caught it midair and then kept going. As a writer, Lurie displays eloquence that Sorkin himself would admire, especially in a bold Presidential address late in the film. His dialogue is sharp and the political games played by the characters is believable and exciting to watch (see especially the final twist). Unlike Sorkin's The American President, Lurie refrains from liberal bias and depicts both sides fairly. Even during a scene in which Oldman and Allen face off over whether abortion is murder or the woman's right to choose, both sides are depicted fairly.
Unfortunately, there are a number of scenes where the film skews heavily to the left. One of the worst offenders is a scene in which Allen's 6 year old son proclaims to his grandfather that a certain tennis move came from "baby Jesus, because baby Jesus made everything," allowing the characters to openly badmouth the influence of church on education. As someone who actually attended a Christian school and was turned off by religion soon after, I found this scene insultingly stupid and simplistic. Allegedly, studio execs including Steven Spielberg skewed the film to depict liberals more favourably, which angered non-political Gary Oldman, who is ultimately depicted as a villain. Up until the final act (and even during parts of it) Oldman's character is one that the President respects even if he doesn't personally agree. His public humiliation is done for political reasons, not personal. However, the final scene has Oldman slink away in defeat while President Jeff Bridges hollers about the high ground. The exact same scene could have played out with minor variations, as Oldman leaves in protest of the President's ability to nominate Allen's character rather than slinking away like a beaten Disney villain.
The acting in this film is excellent. Joan Allen is very subtle as she plays her cards close to the chest. At times I thought her to be a very naive character and she was the victim of bad writing, but when she boldly tells the President why she did not deny the story when she had every ability to, I sat back in admiration despite myself. Gary Oldman is terrific and perhaps one of the few Republicans fairly depicted in film. Jeff Bridges and Sam Elliott cut imposing figures as the President and Chief of Staff, and carry dramatic and powerful moments thanks to their booming voices and commanding presences.
My biggest problem with The Contender is the subplot of Governor Hathaway. It starts well and ends better, but the whole premise of the film is that Bridges wants him but can't have him because Republicans won't forgive him for not saving a girl from drowning (another liberal bias which is insulting to intelligence). However, Oldman quickly snaps Hathaway up as the preferred candidate. When you are facing a smooth confirmation for your best candidate, any President would've seized that opportunity with both hands, glass ceilings be damned. It may be only a small plot hole, but its the plot point that sets up the entire film, so it needs to be addressed.
Rod Lurie's film is obviously inspired in parts by Aaron Sorkin's then The West Wing, which had just debuted to critical acclaim. As a director, he has his moments but fails in his attempts to emulate the walk-and-talk mastered by Thomas Schlamme. Camera movements are clunky and cuts become necessary, but they are hugely obvious and distracting. During one scene, the camera moves from foot level to focus on Sam Elliott's face, but halfway up it stops and fixates on his chest for several seconds. It looks like someone dropped the camera, caught it midair and then kept going. As a writer, Lurie displays eloquence that Sorkin himself would admire, especially in a bold Presidential address late in the film. His dialogue is sharp and the political games played by the characters is believable and exciting to watch (see especially the final twist). Unlike Sorkin's The American President, Lurie refrains from liberal bias and depicts both sides fairly. Even during a scene in which Oldman and Allen face off over whether abortion is murder or the woman's right to choose, both sides are depicted fairly.
Unfortunately, there are a number of scenes where the film skews heavily to the left. One of the worst offenders is a scene in which Allen's 6 year old son proclaims to his grandfather that a certain tennis move came from "baby Jesus, because baby Jesus made everything," allowing the characters to openly badmouth the influence of church on education. As someone who actually attended a Christian school and was turned off by religion soon after, I found this scene insultingly stupid and simplistic. Allegedly, studio execs including Steven Spielberg skewed the film to depict liberals more favourably, which angered non-political Gary Oldman, who is ultimately depicted as a villain. Up until the final act (and even during parts of it) Oldman's character is one that the President respects even if he doesn't personally agree. His public humiliation is done for political reasons, not personal. However, the final scene has Oldman slink away in defeat while President Jeff Bridges hollers about the high ground. The exact same scene could have played out with minor variations, as Oldman leaves in protest of the President's ability to nominate Allen's character rather than slinking away like a beaten Disney villain.
The acting in this film is excellent. Joan Allen is very subtle as she plays her cards close to the chest. At times I thought her to be a very naive character and she was the victim of bad writing, but when she boldly tells the President why she did not deny the story when she had every ability to, I sat back in admiration despite myself. Gary Oldman is terrific and perhaps one of the few Republicans fairly depicted in film. Jeff Bridges and Sam Elliott cut imposing figures as the President and Chief of Staff, and carry dramatic and powerful moments thanks to their booming voices and commanding presences.
My biggest problem with The Contender is the subplot of Governor Hathaway. It starts well and ends better, but the whole premise of the film is that Bridges wants him but can't have him because Republicans won't forgive him for not saving a girl from drowning (another liberal bias which is insulting to intelligence). However, Oldman quickly snaps Hathaway up as the preferred candidate. When you are facing a smooth confirmation for your best candidate, any President would've seized that opportunity with both hands, glass ceilings be damned. It may be only a small plot hole, but its the plot point that sets up the entire film, so it needs to be addressed.