副总统的突然去世将民主党参议院莱恩（琼·艾伦 Joan Allen 饰）推向了风口浪尖，她被提名为最佳总统候选人，如果莱恩当选，那她将成为美国历史上第一位女性总统。莱恩的性别很快就成为了保守党们激烈攻击的目标，其中要属谢力（加里·奥德曼 Gary Oldman 饰）的攻击性最强 谢力是一个老谋深算阴险狡诈的老政客了，他是那种为了达到目的可以不惜一切手段的男人。谢力不知道从哪里挖出了莱恩大学时代的黑历史，这段历史的曝光不仅将影响莱恩此次的竞选，而且有可能毁掉她的政治生命乃至个人生活。为了捍卫自己的权利，莱恩必须勇敢的站在聚光灯下进行反击。
Putting words like “Nobody wants to shoot the vice president” as a wisecrack in a POTUS-obsessed 6-year-old’s mouth, Rod Lurie’s political drama THE CONTENDER conspicuously tries to salt the story’s central witch-hunt with some levity, but also betrays its manipulative, beggar-belief improbability.
Starting off as a choice treatment on USA’s bipartisan political landscape, THE CONTENDER concentrates on Senator Laine Hanson (Allen), who becomes the current POTUS Jackson Evans (Bridges)’s vice president nominee, a glass-ceiling smashing attempt, mainly to secure his own legacy, as Evans is in the dog-end of his second term. But the catch is, the nomination needs approval from both house of Congress, and Republican Congressman Sheldon Runyon (Oldman), who presides the confirmation hearing, doesn’t see eye to eye with Hanson, mostly because she is a Republican proselytizer, tinged with the usual misogynous undertone that is part of the furniture in every boys’ club.
After unscrupulously burrowing into Hanson’s past, Runyon trades on a salacious scandal Hanson may or may not be involved to discredit her qualifications, which Hanson roundly refuses to comment, because in her belief, it belongs to her own private life, whether to admit or deny it can only substantiate that such insidious behavior can be condoned, rightfully so. But Runyon’s insinuating ploy incites media circus and by clamming up on the issue, Hanson is on the back foot, aggravated by the fact that, when she was romantically involved with his husband William (Thomas), her campaign manager, the latter was still in a wedlock.
Just when the plot suggests that Hanson is out and Evans reluctantly concedes to nominate Governor Jack Hathaway (Petersen, a MANHUNTER reunion with Allen!), the white-bread emblem of a star-spangling hero (or is he?), Lurie’s script has an ace in its sleeve, a game-changer that is fairly unexpected, but also totally illogical (let me put it that way, there is simply too risky a subterfuge for a man of such prominence, it is also extremely implausible the said subterfuge could go misfire like that, why not leave the car door open?). From that moment on, the hitherto nip and tuck bipartisan political intrigue swerves to a patriotic and Democratic party-boasting fanfare, with Bridges assertively holding forth in one of his most spectacular turn, it rings hollower 20 years later, but Bridges is a force to be reckoned, that is for sure, his gourmand president has an unconventional front is both disarming and cunning.
A bellowing, head-corked Sam Elliott as Kermit Newman, White House Chief of Staff proves his bark is worse than his bite, while Petersen’s vile blandness leaving a tangy taste in one’s mouth , but Christian Slater’s up-and-coming democratic Representative is not entirely resonant with the rest of the gamey cast, most extraordinary is Oldman and Allen.
Taking a raw deal, Oldman’s Runyon is a hardened bigot and a sly fox, holding a grudge and vindictive, his blatant antipathy towards Hanson is unearned, the film dodges the issue to show us whether or not Hanson is a worthy candidate (she is pro-choice, politics-savvy, but there is not enough meat here), therefore, Runyon might be right when he reprimands her bluntly that she is not made for the job, Oldman miraculously impersonates him with an obnoxiousness that doesn’t repulse but engages us, Runyon’s complexity is never examined under the spotlight, but through Oldman’s masterful mannerism and effusion, we can glimpse his concealed interiority, a character much more mysterious to pin down than anyone else.
Allen, reaping her third Oscar nomination, is granted a bespoke leading role to shine, and she shines spectacularly, dignified, principled, unflappable in her crusade, putting on a strong face in the face of mounting adversary, only letting on her agony under fine-tuned restraint. Her Hanson is a full-bore perfection, the only quibble is that Lurie’s script festoons her with the projected perfection from a male angle. Were her alleged role in that sexual imbroglio not altered, she would end up being a worthier and more humane heroine (a tack might also solve the problem of her qualifications). But Lurie regrettably panders to a more wholesome image of his democratic presentation with a self-congratulatory finish, eventually THE CONTENDER’s punchy momentum peters out down the homestretch.
referential entries: Mike Nichols’ PRIMARY COLORS (1998. 7.0/10); Jonathan Demme’s THE MANCHURIAN CANDIDATE (2004, 6.1/10).
剧情就不多说了，反正这样的电影，导演是舍不得让主角犯一点错误的，和我们国内电影里的反贪局长差不多。
电影光顾着把重点放在性丑闻和塑造光辉形象上，太寒糁了点，大家来来去去有来有回才能表现尔虞我诈的政坛，可电影里只有为数不多的Gary Oldman在听证会上表演能让人记住，民主党大反扑只给了最后十几分钟的时间，没劲。
编剧也有太多问题，真正的得益者只在开头和结尾亮了亮相，其余时间都是Gary Oldman再撑场面，弄得好像他在竞选副总统似的。还有，谁能告诉我那个Webster众议员到底有什么作用吗，除了不停的倒戈为编剧铺路，他白白浪费了这么多胶卷。
总统先生最后的讲话，为这部主旋律画上一个和谐的句号，他的扮演者是《谋杀绿脚趾》里的Dude，嗯，形象差了很多。
Putting words like “Nobody wants to shoot the vice president” as a wisecrack in a POTUS-obsessed 6-year-old’s mouth, Rod Lurie’s political drama THE CONTENDER conspicuously tries to salt the story’s central witch-hunt with some levity, but also betrays its manipulative, beggar-belief improbability.
Starting off as a choice treatment on USA’s bipartisan political landscape, THE CONTENDER concentrates on Senator Laine Hanson (Allen), who becomes the current POTUS Jackson Evans (Bridges)’s vice president nominee, a glass-ceiling smashing attempt, mainly to secure his own legacy, as Evans is in the dog-end of his second term. But the catch is, the nomination needs approval from both house of Congress, and Republican Congressman Sheldon Runyon (Oldman), who presides the confirmation hearing, doesn’t see eye to eye with Hanson, mostly because she is a Republican proselytizer, tinged with the usual misogynous undertone that is part of the furniture in every boys’ club.
After unscrupulously burrowing into Hanson’s past, Runyon trades on a salacious scandal Hanson may or may not be involved to discredit her qualifications, which Hanson roundly refuses to comment, because in her belief, it belongs to her own private life, whether to admit or deny it can only substantiate that such insidious behavior can be condoned, rightfully so. But Runyon’s insinuating ploy incites media circus and by clamming up on the issue, Hanson is on the back foot, aggravated by the fact that, when she was romantically involved with his husband William (Thomas), her campaign manager, the latter was still in a wedlock.
Just when the plot suggests that Hanson is out and Evans reluctantly concedes to nominate Governor Jack Hathaway (Petersen, a MANHUNTER reunion with Allen!), the white-bread emblem of a star-spangling hero (or is he?), Lurie’s script has an ace in its sleeve, a game-changer that is fairly unexpected, but also totally illogical (let me put it that way, there is simply too risky a subterfuge for a man of such prominence, it is also extremely implausible the said subterfuge could go misfire like that, why not leave the car door open?). From that moment on, the hitherto nip and tuck bipartisan political intrigue swerves to a patriotic and Democratic party-boasting fanfare, with Bridges assertively holding forth in one of his most spectacular turn, it rings hollower 20 years later, but Bridges is a force to be reckoned, that is for sure, his gourmand president has an unconventional front is both disarming and cunning.
A bellowing, head-corked Sam Elliott as Kermit Newman, White House Chief of Staff proves his bark is worse than his bite, while Petersen’s vile blandness leaving a tangy taste in one’s mouth , but Christian Slater’s up-and-coming democratic Representative is not entirely resonant with the rest of the gamey cast, most extraordinary is Oldman and Allen.
Taking a raw deal, Oldman’s Runyon is a hardened bigot and a sly fox, holding a grudge and vindictive, his blatant antipathy towards Hanson is unearned, the film dodges the issue to show us whether or not Hanson is a worthy candidate (she is pro-choice, politics-savvy, but there is not enough meat here), therefore, Runyon might be right when he reprimands her bluntly that she is not made for the job, Oldman miraculously impersonates him with an obnoxiousness that doesn’t repulse but engages us, Runyon’s complexity is never examined under the spotlight, but through Oldman’s masterful mannerism and effusion, we can glimpse his concealed interiority, a character much more mysterious to pin down than anyone else.
Allen, reaping her third Oscar nomination, is granted a bespoke leading role to shine, and she shines spectacularly, dignified, principled, unflappable in her crusade, putting on a strong face in the face of mounting adversary, only letting on her agony under fine-tuned restraint. Her Hanson is a full-bore perfection, the only quibble is that Lurie’s script festoons her with the projected perfection from a male angle. Were her alleged role in that sexual imbroglio not altered, she would end up being a worthier and more humane heroine (a tack might also solve the problem of her qualifications). But Lurie regrettably panders to a more wholesome image of his democratic presentation with a self-congratulatory finish, eventually THE CONTENDER’s punchy momentum peters out down the homestretch.
referential entries: Mike Nichols’ PRIMARY COLORS (1998. 7.0/10); Jonathan Demme’s THE MANCHURIAN CANDIDATE (2004, 6.1/10).