by Glynn Wilson
Some critics will dismiss Oliver Stone’s biographical movie “W.” on the life and times of George W. Bush for a lot of reasons, and it may be his worst film to date. In part, that may be because it was rushed together in 46 days to be released before the Nov. 4 presidential election, not so much to influence the election as some critics have suggested, but because it would have little audience interest and thus economic value after the vote to replace Bush.
But what criticism I’ve seen thus far, including from on high in New York, is typical of the limited sort of media criticism by journalists who pander to audiences in the fake attempt at objectivity who don’t understand film as art, or so-called movie reviewers who tend to focus on the technical details rather than the big picture.
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| Josh Brolin plays Bush being arrested in college… |
This is what they don’t get. Stone is America’s Shakespeare in many ways. He is an artist as well as a storyteller. This is art imitating life. And even though he dropped out of Yale after making A’s while Bush finished making C’s, he’s smarter by a long shot than Bush — or any of his critics.
Since I am sort of famous for doing the definitive Bush AWOL story on that controversial time in his life in Montgomery, Alabama, in 1972, and since an editor in New York had tipped me off that part of my story might have been used in the script, I had to see the film on opening night to judge it for myself. And to complete the cultural experience, I went to see the movie in the suburbs east of Birmingham, expecting the action to be interrupted by the banter of suburban Alabama conservatives who still side with Bush politically.
But I guess the economic depression kept them away from paying the $9.50 ticket price, or maybe they just live in a dark cave and didn’t know about it, or wouldn’t support a “liberal” Stone film for any amount of money. Fewer than 10 people showed up.
I expected to laugh out loud throughout the film, based on what I had seen in the advance trailer and my own well-known views of our dufus president-king. Two teenaged girls sitting on the back row laughed a lot. But I only busted out once, when Bush, played by Josh Brolin, is president in the situation room trying to sell the war on Iraq to his cabinet. He can’t even remember the cliché: “Fool me once shame on you; fool me twice shame on me.”
He says, and this is based on real episodes from Bush’s life, I kid you not, “Fool me once shame on you, uh me, er … You can’t be fooled again.”
I wonder how many times the American people feel they have been fooled by Bush and his political guru Karl Rove, the spin master of Rosemary Beach. Shame on you?
This is a non-linear telling, where Stone starts out in a cabinet meeting during the discussion of Bush’s “Axis of Evil” speech, then jumps back to a frat party at Yale in the 1960s. He goes back and forth between the young and older Bush, showing him in the oil business, while he briefly owned part of a Texas baseball team, and at key moments of his presidency, most notably when he has to be “the decider” on torture and spying and whether to invade Iraq based on the intel case for WMDs.
The one jail scene comes early on, but it is for pulling down the goal post after a Princeton football game, not for driving drunk or being busted for cocaine possession.
I did expect Stone to show Bush snorting cocaine and/or smoking pot, perhaps like some of the scenes in “Charlie Wilson’s War.” It is well known that he and Laura Bush smoked marijuana and she is alleged to have sold it in college. Maybe those scenes were left on the cutting-room floor to try to appease the critics and not encourage teenagers to follow in Bush’s footsteps in that regard, or to get that PG-13 rating. Or maybe Stone just didn’t have the time to complete his research as he did for “JFK.”
Either way, Bush is only shown as a pretzel-eating drunk, always downing Jack Daniels at bars and frat parties, when the research clearly shows that Bush’s whiskey of choice was Jim Beam.
Some of the most powerfully accurate material comes during the encounters with “Poppy,” the 41st President George H.W. Bush, who is always disappointed in George Jr.
Stone’s portrayal of Bush’s life makes use of his dreams of baseball in an empty stadium as a literary device, not just to caricature him, as some critics have suggested. And it could be true of many young men of Bush’s generation, so it’s not just about Bush. It’s a timeless statement about America in the second half of the 20th century and the early 21st.
The true story of Bush’s drive to gain the approval of his father is not limited to Bush’s experience, either. It is a real, psychological struggle faced by many young men in all kinds of cultures, as Shakespeare knew and portrayed so accurately and eloquently in Hamlet.
Stone’s “W.,” in other words, is our Hamlet, where the prince and then king is always seeking the favor of his father on one hand and his manly independence on the other.
“To be or not to be. That is the question: Whether ’tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles and by opposing end them,” King Hamlet laments, after being visited by the ghost of his father and while trying to decide whether to declare a war he thinks his father would support.
There is little doubt that Bush’s own drive to gain the approval of his father motivated him to run for office and then, once there, to declare war and invade Iraq “to finish the job.” That still gives Bush fans — and baseball fans who treat politics as sport — a line to cheer about.
Of course there were other factors, including the neo-con vision of world empire that required gaining control of Iraq’s oil. In the film, Richard Dreyfus as Vice President Dick Cheney shows us this plan better than any single piece of journalism ever could.
The premiere advice in Hamlet, though, comes in a line from Polonius to his son Laertes.
“This above all: to thine own self be true, and it must follow, as the night the day, thou canst not then be false to any man.”
Bush pursues the first part and ignores the latter, to his own downfall and ours, just as Polonius and Hamlet did in their time and in the play.
That should underscore the main point viewers should take away from the movie — and readers should take away from the Bush AWOL story.
America is not supposed to be a monarchy. If we continue to elect the flawed sons (or dufus princes) of would-be monarchs like those in the Bush family, we will suffer the same downfall as the kingdoms of Europe.
Oh, but wait. It’s too late. We already did.
And now, as Bush is about to be replaced in the White House, the American empire is over. Caput. Dead and gone.
We are about to be in the full grasp of another Great Depression. We brought this on ourselves by allowing the uneducated masses to elect someone so lacking in intellectual competence and curiosity as to allow a political PR man to run the federal government for eight years by press release.
If only we had listened to the journalists who warned of the dangers of reelecting Bush in 2004. . . .
We might not be in this mess today.
If only we had learned from Shakespeare. . . .