Der Spitzenkandidat

The acting in this movie is fine. The problem lies in the script. Near the end it gives Lee Hart, and even Donna Rice, scenes that allow us to get to know them somewhat, see what's inside them. We never get that for Gary Hart, who is far and away the most important character in this movie. We never see what made Hart so popular, especially with younger voters. We never get to see him explain important issues to the masses, though we are told that he does that very effectively. We never get scenes with him in which he gives us a hint of why he risks his career with his extra-marital affairs. He comes off as very cold, very distant, and that's problematic for a central character. As a result, we have no reason to feel anything when his career is finally destroyed.

To an extent, this is about the media's intrusion into the privacy of public officials, but that isn't examined. Nor is there any attempt to suggest a change over time to today, when a sitting president can boast about extra-marital affairs and not suffer any loss of popularity.

In the end, I was left wondering why this story was being told in 2018. It doesn't make us understand Hart, or feel sorry for him. It doesn't tell us anything either about 1988 or our own era. It doesn't make Hart a character we can feel for when he falls, because it never shows him to us as a great if flawed man. (Several characters tell us he is great, but that's not the same thing.) What was the point of filming it?

The Front Runner is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background (and have not seen the trailer) then you might want to skip the rest of this review - and all other reviews - so you can see the film first and let the history come as a surprise to you.

Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).

Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: "Just don't embarrass me" is Lee's one requirement. His "nothing to hide" line to an intelligent Washington Post reporter - AJ Parker (a well cast Mamoudou Athie) - leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?

Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a "slapper" by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post's Ben Bradlee - surely one of the most oft portrayed real-life journalists in film history.

One of my biggest dissatisfactions with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film's dialogue - particularly in the first 30 minutes of the film - is drowned out by background noise. Sometimes I just longed for subtitles!

The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the story, but the big problem is that the story is just a little bit dull, particularly by today's levels of scandal. This suffers the same fate as "House of Cards" (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.

A core tenet of the film is Hart's view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it's clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that's the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70's as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)

Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I'm still not sure. It's worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.

The film's perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought "OK, that's that then".... nothing more. If you're a fan of this style of historical political film then you probably won't be disappointed by it; if not, probably best to wait and catch this on the TV.

(For the full graphical review please check out One Mann's Movies on the web or Facebook. Thanks).

'The Front Runner' is a film that, despite its heavy political background, is more focused on the personal story of its titular character, Gary Hart. Reitman's film both benefits and suffers for this, depending on the type of audience member you are. Should you be expecting a dense political drama, evolving from a campaign and policy focused narrative into more of a personal crisis, you may be disappointed. The political background is present, but irrelevant in the overarching narrative, instead revealing itself to purely be a character-driven drama. 'The Front Runner' is not about the difficulties of running for president, but more about how the media can tarnish one's livelihood, and their treatment to Hart, whilst arguably justified, appears alarmingly savage when compared to Trump's America and the conspiracies plaguing his presidency. As a result, the film is surprisingly relevant today, but more down to coincidence than planned. Despite this, Jackman's performance may be a standout in his career, serving as the lifeblood of this story - his peak dramatic moments are unmatched throughout the film. This performance may well create a contender come awards season, as he skillfully fluctuates from a good-natured family man, to a paranoid mess, and everything in-between. Furthermore, the film's reluctance to take a side regarding the prevalent issues it discusses is bolstered by Jackman creating a character that is not good or bad, neither morally grey, forming someone who is undoubtable real. As a result, when Jackman is at his best, 'The Front Runner' achieves dizzying heights, serving as a relentlessly compelling character piece, however, upon his absence, which serves as a large portion of the film, it can become overly slow and laborious, leaving the audience striving for his return. Furthermore, the conclusion appears anti-climactic which, unavoidable as it may be considering this is a true story, nonetheless ends with a squeak rather than a shout. The narrative aside, the film is technically well-constructed, opening with a gorgeous long-take that establishes the time and setting with efficiency, an illusion that holds up throughout. Even the use of title-cards establishing locations are reminiscent of films made in the late-80's and early 90's, this attention to detail reminiscent of a director who cares for the source material. Reitman is, by this point, an experienced director, and his confidence is visible here, however, it feels as though the stellar direction and performances deserve more than this generic, somewhat unfulfilling narrative can provide.

The Front Runner is a political drama based on the non-fiction book "All the Truth Is Out: The Week Politics Went Tabloid" by Matt Bai. Starring Hugh Jackman in the lead role and directed by Jason Reitman (Thank You for Smoking, Juno, Up In The Air), it is a reasonable examination of a ruined political career that doesn't quite achieve what it meant to.

In 1987, Colorado senator and clean-cut family man Gary Hart (Hugh Jackman) is the favourite to become the Democratic nominee to run for President in the US election the following year. However, after challenging the press and general public to "follow him around", Hart is eventually exposed as having an affair with a young journalist. With the presidential nomination swiftly approaching, Hart tries desperately to clear his reputation before it is too late.

Despite an engaging premise, The Front Runner's lightweight approach to telling the story of such a damning political scandal makes it feel less impactful and that causes its entertainment value to suffer as a result. We, the audience, are only really shown how Hart's actions affected him personally but we seldom see how his political affiliations and, most importantly, his family suffered from his poor decision making. The film's supporting cast, which includes the likes of J.K. Simmons and Vera Farmiga, felt underutilised and brought practically nothing interesting to the overall story. In spite of this, Hugh Jackman's performance in the main role was easily the best thing about this film, as he does a fine job holding the viewer's attention. Additionally, Jason Reitman's brisk direction helps move the film along at a nice enough pace to prevent boredom. It's such a shame that this story was not done the justice it deserved as a major motion picture.

I rate it 6/10

Jason Reitman's film (shot on 35mm by Eric Steelberg) starts off as a Fly On The Wall treatment of Gary Hart's 1988 campaign for President, before dissolving into a typical docu-drama crawl. Too bad, as the early scenes have a certain rush of excitement and even verisimilltude. The momentum gets strangely derailed just when it should be peaking - when the Donna Rice / 'Monkey Business' sex scandal hits. Hugh Jackman is good as the candidate, even if he never quite nails Hart's voice (and, while Hart was a handsome well built guy, he didn't quite have the physique of Wolverine! - especially amusing in the lumberjack scene). Vera Farmiga and JK Simmons provide solid support as Hart's wife and campaign manager respectively. Sara Paxton gives Donna Rice a sympathy beyond the typical 'victim' stereotype, even she doesn't really look the part. It's been well chronicled that Hart's sexual escapades helped clear the path for Bill Clinton to clear that hurdle when his scandals hit (not to mention the current Prez). What THE FRONT RUNNER also shows is that Hart lacked the empathy and human dimension that Clinton had that lead to his winning the Presidency. Both Hart and Clinton were policy wonks, but, 'Slick Willie' was a fully rounded personality - love him or hate him. Hart came off like a stolid Senator from flyover country. THE FRONT RUNNER doesn't break any new ground (and offers little that will appeal to anybody under 50 who isn't a political junkie), despite it's fine start. Still, as an addition to the library of political films, it's an asset.