4 out of 5 stars
A film exploring the idea that even the most optimistic and genuine people can be corrupted by the dirty game of politics is certainly nothing new. Filmmakers have explored the concept numerous times in the past few decades.
Therefore, the success of a political film that chooses to tackle this theme ultimately comes down to execution and the performances of its cast. In this regard, The Ides of March manages to provide a highly enjoyable, if rather familiar, viewing experience.
The Ides of March follows Stephen Myers (played by Ryan Gosling), the junior campaign manager of Mike Morris (played by George Clooney, who also directed the film), a Democratic presidential candidate seeking his party’s nomination. As the campaign moves into Ohio, a state which would mostly guarantee Morris’s victory, complications arise that test just how far Myers is willing to go, both to secure a win and to keep his own career afloat.
The plot carries numerous betrayals and twists, so giving too much away would take away from the overall experience. However, it’s safe to say that the numerous reveals and turns make sure that viewers won’t be sure of what’s to come.
Again, much of the film works because of the cast. Every role feels well-cast, with actors working at the top of their game to elevate the material provided. Gosling, who has seen a streak of big film releases already this year, impresses in the leading role. He manages a wide range of emotions throughout, taking his character from an idealistic young man to someone as jaded and vengeful as the political advisors around him.
Beyond Gosling, the rest of the supporting cast is just as dedicated to bring their roles to life. Clooney, while bringing much of the charm and charisma he’s built his career on to Morris, is brilliant in the scenes that require a darker edge. Paul Giamatti also hides malevolence beneath the surface in his role as the campaign manager of Morris’ opponent.
By far, the best performance comes from Philip Seymour Hoffman as Paul Zara, Morris’s senior campaign manager and Myers’ boss. Hoffman perfectly captures the essence of a man who’s dedicated his life to the election process.
The actor brings an intensity that elevates every scene he’s in. From sharing pleasantries with a New York Times reporter to chewing Myers’ out over his mistakes, Hoffman is wholly convincing as Zara, and will hopefully receive recognition come awards season.
While the actors manage to commit to the dramatic high points of the film, the scenes that provide its lighter moments are equally effective, and allow for some original material.
Early on, simply watching the everyday activities involved in running a political campaign are enjoyable, from Morris complaining about not having print copies of his speeches to Myers trying to hide a video of Morris speaking on an issue from before he announced his intention to run. It’s these smaller moments that allow the film to breathe and rise above being a forgettable political drama.
Still, despite the caliber of the performances and moments of creativity in the script, there’s no getting around the formulaic moments in the plot. Again, the film’s overall message about the corrupting influence politics can have has been done countless times before.
Further, the potential scandal that threatens Morris’ campaign is so predictable and cliché that it borders on being groan-worthy.
However, The Ides of March manages to do enough right that it can be forgiven for the few places it stumbles. A strong cast of actors working off a solid script show that even familiar situations and messages can have new life breathed into them. As such, The Ides of March stands a great, if not perfect, addition to the fall’s line-up of dramas.
