Originally broadcast in May of 1977, this series of interviews between Sir David Frost and U.S. President Richard Nixon, delves into the various controversies of Nixon's presidency, ... See full summary »
In 1959, Truman Capote learns of the murder of a Kansas family and decides to write a book about the case. While researching for his novel In Cold Blood, Capote forms a relationship with one of the killers, Perry Smith, who is on death row.
Philip Seymour Hoffman,
Clifton Collins Jr.,
Writer Peter Morgan's legendary battle between Richard Nixon, the disgraced president with a legacy to save, and David Frost, a jet-setting television personality with a name to make, in the story of the historic encounter that changed both their lives. For three years after being forced from office, Nixon remained silent. But in summer 1977, the steely, cunning former commander-in-chief agreed to sit for one all-inclusive interview to confront the questions of his time in office and the Watergate scandal that ended his presidency. Nixon surprised everyone in selecting Frost as his televised confessor, intending to easily outfox the breezy British showman and secure a place in the hearts and minds of Americans (as well as a $600,000 fee). Likewise, Frost's team harbored doubts about their boss' ability to hold his own. But as cameras rolled, a charged battle of wits resulted.Written by
Kevin Bacon said that the day Ron Howard called him about being cast in Frost/Nixon, Kevin Bacon had tickets to a production of the play for that very same night. See more »
When Frost is flying from London to New York for the first time in the movie, probably 1976, the external view of the aircraft shows a 747-400 with an extended upper deck. This version of the 747 was not introduced until 1989. See more »
James Reston, Jr.:
You know the first and greatest sin of the deception of television is that it simplifies; it diminishes great, complex ideas, stretches of time; whole careers become reduced to a single snapshot. At first I couldn't understand why Bob Zelnick was quite as euphoric as he was after the interviews, or why John Birt felt moved to strip naked and rush into the ocean to celebrate. But that was before I really understood the reductive power of the close-up, because David had succeeded on that final ...
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Michael Sheen and Frank Langella are credited simultaneously before the title. Sheen's name is on a lower level, but further to the left; while Langella's is higher up, but pushed to the right. Therefore, depending on whether you read the card top-to-bottom or left-to-right, either actor can be seen as being credited first. See more »
The Frost/Nixon interviews are fascinating. Not every second of them, especially not when Nixon rambles on and on, avoiding questions by offering anecdotes in place of answers. Yet, they are an invaluable historical document, which allow us the rare privilege of seeing a major politician as a human being and nothing else. As interesting as the interviews themselves is the lead-up to them, the circumstances surrounding them, and the characters involved, particularly Frost and Nixon, of course. One could say that you only need to watch the actual footage, but there's ample room for a great dramatization, but it needed an even-handed approach, and certainly needed no political preaching.
I have a personal dislike for Ron Howard as a director, a result of my sensibilities mainly, I suspect. Howard strikes me as a particularly heavy-handed, didactic director who has wasted many great concepts on mediocre films (out of 18 films I've seen by him, I only genuinely liked "Apollo 13". I was expecting the worst with "Frost/Nixon", but instead was met with one of the most entertaining films in a while, and a remarkably well-acted, even-handed, quality character study. I suppose I should have been prepared for a quality screenplay given the success of this Peter Morgan play in New York and London, but I was hardly expecting something this good. It's glib, funny, well-paced, expertly-structured, clever, observant, and intelligent. It creates a fascinating Nixon, played brilliantly by the great Frank Langella, though this is not quite up there with the likes of Oliver Stone's sadly under-appreciated "Nixon" or Robert Altman's endlessly fascinating "Secret Honor". The film is almost surprisingly well-directed, although there is a bit of the old TV trick of shaking the camera a bit, panning too often, to give the illusion of motion and energy when there's really just people in a room talking. The conversation's interesting enough, there's no need for that. Oh well, I suppose I am nitpicking.
As far as Nixon movies go this is lightweight entertainment with plenty of comic moments largely leading up to two or three scenes of real human vulnerability. Aside from these scenes (which are truly, truly excellent), Peter Morgan conceives the meeting as something of a chess match with the unpredictability of a boxing match. To use J. Hoberman's words 'a prize fight between two comeback-hungry veterans, only one of whom could win'. On paper this could have been very heavy on amateur psychoanalysis and low on entertainment value but Morgan and I suppose Howard as well are clever enough to have some fun with the idea. This is not a criticism at all, the film has moments of surprisingly real depth and intellectualism, but overall the nature of the script works in its favor, makes those scenes more interesting, more ultimately rewarding.
"Frost/Nixon" is an entertaining, exciting film, around as populist as I expected but in a very different way. This is the sort of writing we don't see enough of, particularly not in today's films. It's vaguely reminiscent of a particularly good BBC television drama. The cast is certainly good enough for that. Langella and Michael Sheen are outstanding, both manage to accurately portray the real-life men they are portraying while still adding some characterization and mannerisms of their own. Langella's Tony-award winning performance might be up for Oscar consideration soon, but Sheen's Frost almost upstages him at times. No heavy-handedness, no political 'messages', just a fun, clever script and a great cast in a well-made film.
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