Plame's status as a CIA agent was revealed by White House officials allegedly out to discredit her husband after he wrote a 2003 New York Times op-ed piece saying that the Bush administration had manipulated intelligence about weapons of mass destruction to justify the invasion of Iraq.Written by
"Every director says he couldn't have made the film without his cast and crew," said director Doug Liman, and continued: "But it doesn't make it any less true in this case. I could not have made this film without this extraordinary cast and my incredible, gifted, committed and talented crew. This is not a great climate in which to make a serious, ambitious film that is being produced on a very small budget. But everyone involved gladly cut their fees. Everyone's willingness to do whatever it took to get the film made was nothing short of astonishing." See more »
When Joe Wilson leaves the lunch with the Africans after the confrontation with the reporter, he exits the Willard Hotel at 14th and Pennsylvania NW. He gets in a cab and asks to be taken to the Palisades, a neighborhood in Upper NW DC. When he exits the cab he is in front of the Capitol. The cab has taken him 14 blocks in the wrong direction. See more »
[arriving at Kuala Lumpur airport]
Jessica McDowell, Gnosos Chemicals.
When do you leave Kuala Lumpur, Miss McDowell?
I fly to Taiwan Tuesday, then back to Düsseldorf.
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In the closing credits, the last names of some of the characters (Hafiz, Jack, Bill, Dr. Zahraa, Paul, Ali, Hammad, Beth and Pete) are redacted. See more »
According to Decider.com, the changes in the 2018 director's cut are:
-The new version runs 1 hour and 54 minutes to the original's 1 hour and 48 minutes
The Director's Cut shows Plame leading a quiet raid on a shipping facility in order to intercept a detonator
A scene where Wilson expresses his frustration and fear that he can't know where Plame is being sent or whether she's okay
A short scene airs after a clip of Bush giving his State of the Union speech where he alluded to Iraq's use of uranium, where we see Iraq at dusk, peaceful, before the U.S. shock-and-awe bombing began
An extended scene between Plame and her friend Diana (Brooke Smith) after Plame's cover has been blown
An extension of a scene where Plame and Wilson argue in their kitchen
A scene where Joe is harassed at a restaurant and he yells back at the woman is trimmed up a bit
A closing montage of Wilson speaking at various college lectures is re-edited
The final scene of Naomi Watts as Plame testifying before Congress has been swapped for different shots
The postscript: "In 2018 President Trump gave Libby a full pardon."
"Fair Game" combines strong performances and compelling drama with a very personal look into the abuse of power in government
One of the major events that President George W. Bush will undoubtedly be remembered for in history will be his decision to declare war on Iraq in 2003. If we recall back to early 2003 when the administration was laying out its reasons for invading Iraq, the one most marketed to the American public was the idea that Saddam Hussein was in the process of creating chemical or nuclear weapons, which he would then give to terrorists who could then use them to attack American cities. Of course, soon after the war began it was discovered that these weapons either never existed or no longer existed, and to this day no one in the CIA or federal government has been able to explain how the intelligence community could have gotten it so wrong.
"Fair Game" places itself right in the middle of these controversial events between 2002 and 2004, and is told through the eyes of CIA Agent Valerie Plame (played very convincingly by Naomi Watts) and her husband, United Nations Ambassador Joe Wilson (played fiercely by the always great Sean Penn). The film's story follows how Plame goes from patriotic CIA agent diligently doing her job overseas to suddenly having her identity made public after her husband uncovered false information about a nuclear development sale between Iraq and Niger. This false information about a uranium sale between these two countries is important because it was implied as factual when Bush was listing information about Iraq during his State of The Union Speech in early 2003.
As the film starts, Plame and Wilson appear to be a very loving couple with a very strong marriage - they even have 2 small children who live with them in the D.C. area. Plame is busy traveling covertly to countries in The Middle East to shake her fist at people whom might have ties to terrorists, while Wilson is back at home, often finding himself in heated arguments with friends at the dinner table whom hold a different opinions from his own. Both Plame and Wilson appear to be relatively non-political civilians working peacefully and dutifully for the federal government - until the Bush administration decides that the country should invade Iraq. After Wilson criticizes the administration's faulty information publicly, Plame is then fired from her job, and much of the rest of the film focuses on how the couple's marriage is stressed because of what is transpiring all over the media. People harass them often when they go out, as Wilson makes rounds on the media circuit to try to restore his name. The film has a little bit of a soap-operish feel to it during the 2nd half in that it is mostly focused on the couple's relationship, but the acting performances by Watts and Penn are just so sharp that they make up for some of the film's small flaws when it comes to storytelling. There is also a small subplot involving a family in Iraq connected with Plame's counter-proliferation efforts that should have been either developed more or left out entirely, as that is the weakest part of the film - but fortunately those scenes are relatively few in the entire film.
Aside from the acting, another of the film's strengths is how it never gets too preachy towards the Bush administration, but rather focuses on the facts of what unfairly happened to Plame and Wilson from their own points of view. In fact, no actor plays Bush or Cheney in the film - we only see a few clips of the real Bush and Cheneys giving speeches on TV screens for a matter of seconds. Scooter Libby (portrayed a bit villainously by David Andrews) is seen in a few short scenes as a swindler who tries to convince CIA employees into manipulating the intelligence the way he sees it, but his characterization is very subtle, rather than as an in your face bad guy. Doug Liman's direction is also fairly fast-paced to make sure the film never gets too bogged down in pointless scenes. Even though it is very talky and dialogue-driven, the narrative keeps moving forward at a crisp pace - at least if audience members are adults without ADD (and I think it's pretty fair to say that this movie isn't marketed for the Transformers or Twilight crowd...) The film generally works very well both as an entertaining drama, spy thriller, and an educational lesson. Moreover, it's an intelligent reminder to the public of how people in positions in power in government will often stop at nothing to achieve their desired goals, even if that means illegally abusing their power through misinformation, manipulation, and character assassination. As citizens we should constantly be questioning our leaders and their motives, as well as keeping them honest and holding them accountable whenever they they violate our trust.
On a final note, I have to say that I find it very refreshing to see a film like this that has a woman in a very intelligent leading role, rather than how Hollywood films usually stereotype females in formulaic romantic comedies. It seems like women in major roles usually have their sappy characters obsessing about trying to find a man and buying shoes, with some slapstick and comedy at the dinner table with their parents thrown in as well (a.k.a. chick flicks). It's either that or the female characters get almost zero screen time, where they are relegated to simply being the cute girlfriend sidekick. It's nice to see movies like this allow womens' dramatic acting talents to shine and allow us to see them as complex, real characters.
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