W. (**)

W.
Directed by Oliver Stone



**

The administration of George W. Bush has been one of the most shameful in American history. It has everything: deceit, violence, religious fanaticism, essentially anything except for infidelity (And the Republicans call Democrats heathens just because they get BJs in the oval office, and sleep with Marilyn Monroe). It's plain to see why Bush has gone into complete isolation over the last few months of his infamous presidency, only popping his head out to convince Americans to approve a bailout plan that's only needed because of his failed economic policies. [sighs] I'm off on a tangent, I'll try and stick to the movie.

So, who else, Oliver Stone decides to put together a film about the life and times of Mr. President while he's still in office. It seems like just yesterday I first heard about this film being made, and in less than a year, it's already being tossed into theaters. Stone put this film together with an almost Spielbergian speed. Rarely does anything in cinema turn out well when it's rushed, and W. is no exception. The main flaw in this film, though, is not necessarily its sloppiness, but its indifference. Any film about Bush, especially one made by the liberal conscious of Stone, should have ten times the bite that this film has. Instead, we are left with two hours reliving the eight years of Hell this country has gone through with Bush at the helm.

The film moves in a non-chronilogical form, splicing his presidency with what led to it. We watch George (Josh Brolin) as he take part in a rather debaucherous hazing routine while at Yale, being forced to sit in a tub of ice, while force-fed whiskey through a funnel. His adolesense and young adulthood are plagued by constant boozing and womanizing, which does little to humor his father, then Congressman George Bush (James Cromwell). George is frequently living in the shadow of his more level-headed younger brother Jeb (Jason Ritter), and seems primed to become the son his parents would like to forget.

George Jr.'s life begins to change when he meets Laura (Elizabeth Banks), his future wife. With her, he begins a sincere relationship, and by the age of 40, George finds God and rids himself of alcohol. In an attempt to gain the respect of his father, he helps him in his 1988 presidential campaign, which leads to victory. With the confidence he finds in this (and the bitterness of his father's defeat to Clinton in 1992), he campaigns for the governship of Texas, his homestate. Lo and behold, George Jr. wins, and also works his way to becoming the owner of Texas Rangers Major League baseball team (the film seems to think that the team may be the biggest accomplisment in his life--though he traded Sammy Sosa).

As for the actual presidency of George W. Bush, Stone deals with it in an incredibly strange way. The notorious 2000 Election and the circus it became is only mentioned in half-quip, yet small details like Bush's reputation as a compulsive eater is exploited in great detail. The single most important event in his administration: September 11th, is only passed around in conversation well after the fact. Yet, we are previewed to graphic scene which dramatizes the well-publicized event of how Bush nearly choked to death on a pretzel. It's puzzling the way in which Stone distributes screen time to certain events.

I don't think I ever thought there would be a day where I would be calling an Oliver Stone film soft, but here it is. He seems to make the case that Bush is no more than an incompetent who was pushed on by outside sources (smarter, more conniving friends; his family; God) toward the presidency. By the last third of the movie, the film just regurgitates aspects of Michael Moore's incendiary documentary Fahrenheit 9/11. Moore's film, though, is a masterpiece because it doesn't buy into Bush's "aw, shucks", country bumpkin persona, and holds him accountable for the decisions that he made. All presidents have advisers, but in the end, their administration is decided by what they do.

The film's one bright star is its performances, which are a hoot. The film is stocked with the usual suspects such as Donald Rumsfeld (Scott Glenn), Condoleeza Rice (Thandie Newton), and Bush's main 'genius boy' adviser Karl Rove (Toby Jones). All the supporters are almost eerie in their precision, and the ones that are the most fun are Richard Dreyfuss' scathing reproduction of Vice Pres. Dick Cheney, who's obsession with becoming an American empire wholly represents the problems with imperialism. Jeffrey Wright is also good as the soft-spoken, but intense Colin Powell, who is merely brushed off when he speaks against the War in Iraq at a meeting of the heads. Also, Ellen Burstyn's performance as the explosive Barbara Bush is funny, sweet, and appropriately maternal.

Which brings us to Josh Brolin, who seems to be left on an island to play the titular character. His performance could have easily just have taken cues from so many SNL impersonations. Instead, Brolin manages to find the heart of Bush. Constantly stuffing food down his throat and minutes away from his temper flying off the handle, Brolin is a revelation. They say impression is the biggest form of flattery, and Brolin pulls off the impossible of making George W. Bush a funny, sympathetic character, who is a victim of the influences around him. Brolin, hot off the success of last year's No Country For Old Men and the anticipation of November's Milk is quickly reaching the pinnacle of a steady acting career.

In the end, the film that Stone created is little more than a fantasy. It's not that I'd have been more pleased with a 'meaner' picture, but something with a little more cojones. To pass Bush off as just a dim-witted good ol' boy is to underestimate the harm he has down to the prestine stature of America. He made the mistake of bringing personal problems into the White House, and let it influence him into a preemptive war that's still being fought today. I know the significance behind this film being released so soon: to put people's perspective in check about the last eight years, before they cast their ballot on November 4th. What this movie achieves, however, is creating a restlessness in an audience who thinks November 4th can't come fast enough.