El candidato

This is a truly excellent and overlooked Redford vehicle, and his performance comes full circle. From wide-eyed idealism to resigned cynicism, all the way back to little-boy-lost and overwhelmed. Redford is flawless! Peter Boyle is right-on as the experienced campaign hand. Also it is easy to overlook Don Porter's effortless portrayal of the smooth and experienced incumbent senator, just on the verge of decline. Porter's seamless delivery makes it look easy.

Douglas is also excellent as John J. McKay, Redford's father and the former governor. Obviously a traditional machine politician, and apparently estranged from his activist son for that, and perhaps for other reasons we are left to imagine, Douglas revels in the younger man's initiation to the corrupt world of politics. Catch the hunting scene to illustrate how these two are poles apart.

An intelligent, realistic, and rewarding film about politics, done at a time when folks were perhaps looking for a political fairy tale.

Michael Ritchie seems to have this thing for competition -- whether downhill racing, body building, water skiing, or, as here, politics. This isn't my favorite human motive, besting other people, so this one comes as a rather pleasant surprise, laden as it is with more social and political content than the with the details of the quest. I mean -- Redford doesn't even want the office!

"The Candidate" has the appearance of a made-for-TV movie. The credits are presented simply, as in a TV movies. There is no underscore but the music that we hear consists of marches with lots of drums and sometimes one or two instruments hitting clinkers, as they would on a bandstand behind a speaker.

The photography is highly colored and flat, as in a TV movie. Everybody seems to be dressed in suits or riding costumes. They look overly made up, freshly preened and pruned. They drive big new American cars and live in splendidly arid modern homes. In short they appear to lead the kind of lives to which naive screenwriters aspire.

That out of the way, this is a pretty brave movie. It's a story of an innocent and blunt lawyer who become progressively corrupted during the campaign as victory seems more nearly in his grasp and the grasp of his managers. They 86 his sideburns and give him a haircut and put him in expensive suits. Girls love him because he displays such, well, such Robert Redfordness. One guy belts him in the mouth at a rally and I can understand why. All men as handsome as Robert Redford should be illegal.

But he does a decent job in his minimal way. His forte lies in little moves, as when he cocks his head and says quizzically, "Eh"? Everybody else is quite good too, though his wife is mostly decorative. Peter Boyle is fine, and Allan Garfinkle is always believable as a cynical scuzz.

You have to admire the way the script does not spare Redford's character. He may be an idealist at first. What does he think of abortion? "I'm for it." How about property taxes. "I don't know." By the end of the movie he's learned fluent politicospeak. How's he feel about busing? "You can't solve the problems of this country with a bus." (Right.) He knows that he's selling himself out but he wants to WIN.

As the campaign gets into high gear he's late for a meeting with a labor leader, a grizzled Kenneth Toby given to smoking pinched little cigarettes. Everybody in the room is wondering where Redford is, and how he can treat an important man like Toby with such disrespect. And where is he? We see the door to a hotel room open and there emerges a girl so gorgeous that if she were an escort instead of a groupie she'd be extremely expensive. A few seconds later Redford comes out buttoning his jacket.

Nothing much is made of this incident. Boyle watches this parade in the hallway, staring after the girl, but nobody says anything and the scene lasts for only a few seconds. And here is where Ritchie and the writers earn my respect. Think of how easily this very effective scene could have been demolished. Boyle stopping the groupie and demanding to know what's been going on. Boyle admonishing Redford for cheating on his wife -- "If this ever gets out our goose is cooked!" Redford protesting that his private life is his own business.

But none of this happens. Not in this scene or in any of the others in which a piece of character is revealed. Ritchie trusts in the perspicacity of the viewer. He shows us, because he doesn't have to tell us. He figures we're smart enough to pick up this clues by ourselves. Thank you, Mister Ritchie.

We should be grateful to the writer as well, and to Redford's improvisational talents, when, alone in a car's rear seat, half crazed, he mangles the stump speech he's given a thousand times and comes up with a hilarious parody: "The basic indifference that made this country great."

Also admirable is that the movie deals with specific issues -- abortion, busing, unemployment, fire hazard, health concerns -- and Redford is the Democratic candidate while Don Porter is the Republican candidate (imagine actually NAMING the political parties and risking losing half the audience).

Porter comes across like an actor, an old ham of an actor, which suits the part. He's smooth and wily at seducing the public, a kind of Don Juan of the political arena. Ritchie has taken some real chances here. Porter comes up with something like, "Oh, sure, when I was a kid we were all poor too. Why some of us didn't even have our own SOCIAL WORKER."

It took guts to make this movie. And talent to make it so well.

Robert Redford, in one of his unjustly overlooked films from 1972, stars as a lawyer and the son of the former governor of the state of California in an election year where the senatorial incumbent has no competition. Peter Boyle convinces Redford to run, fully expecting and anticipating to lose, therefore being able to run on a platform of pure integrity to show how out of touch the current senator has become. But suddenly the public realizes that some fresh, younger blood with an idealistic eye might be what they truly want rather than another in a long succession of terms by the same old huckster. Melvyn Douglas also stars as Redford's father. Even though this film is almost 30 years old, the Oscar-winning screenplay by Jeremy Larner shows just how timeless the same old issues the candidate has to decide where he stands upon (abortion, the environment, health care) actually are. The script really is eye-opening, because it underlines very well the point that even if, say, Jesus Christ were to run for office today, what He would say is not as important as how and when He'd say it. Directed by Michael Ritchie (Smile, The Bad News Bears, Semi-Tough), one of the few American directors who has been able to successfully show the black humor of the strange, fetid underbelly of competition in this society. Blink and you'll miss Natalie Wood at a fund-raiser. Completely climatized to the Seventies, she looks like Donovan's aide-de-camp.

Only recently does it seem like the political world has been soiled by entertainment media. HBO's "Veep", created by the satirically minded Armando Iannucci, is a brutal comedy series that details the day to day life of the vice president. Don't expect to see an all-American woman pining for a better America, because you get a narcissist hungry for power. Netflix's "House of Cards" makes politics seem as dirty as the crime world, with elected officials offing enemies left and right, utilizing corruption for the sake of unbridled authority.

In days past, there was something mystical about a candidate — the one we loved (not the Nixon of the race) seemed to be a sort of god who could do no wrong. Look at JFK, FDR; they were far from perfect, but their image, their reputation, turned them into unspeakably untouchable icons. But it seems post-Vietnam, post-Watergate, America has turned into a hotbed of negativity. We don't trust our sacred politicians like we used to. And so "The Candidate" is more relevant than ever. In 1972, the U.S. was just starting to turn into a bunch of pessimists. But now, we regard many of our elected officials in the same way we do the villain of a political thriller: evil, devilishly evil. But smart.

"The Candidate" is part black comedy, part political drama, all stitched together by an endlessly scathing screenplay and a finely tuned performance from Robert Redford. It isn't so much an emotional film as it is a witty commentary regarding the election process, and how most candidates go from freshly idealistic to power hungry after a mere few months of campaigning. The film doesn't tap into our fears in the same way "All the President's Men" did, or how "Three Days of the Condor" told us not to trust anyone sitting in office. Rather, it serves as a thought-provoker that makes us wonder if the smiles governmental hopefuls put on display are actually genuine. It's a bleak, bleak, movie, not so much because it is starkly negative but because it prefers to think that getting elected is a popularity contest, not a case of may the best man win.

Redford plays Bill McKay, a 30-ish attorney who, on a whim, decides to run for Senate. Incumbent Crocker Jarmon (Don Porter) is slated to win — McKay, you see, has been approached by political specialist Marvin Lucas (Peter Boyle), who only wants McKay to act as a Democratic figure, not as serious competition. Jarmon, after all, cannot run unopposed. McKay knows he has little by way of chance, but, knowing he has the opportunity to spread his ideals around the state, does everything he can to potentially find success. And as the son of the former governor (Melvyn Douglas), with, not to mention, good looks that have captured much of the female vote, his possibilities may be stronger than Lucas could have ever imagined. Problem is, if McKay really wants to win, he'll have to, in some ways, trade many of his morals in favor of popularity.

"The Candidate" is filmed as if it were a documentary, following McKay around until his positive nature completely breaks down and sardonic ickiness takes over. As the film begins, he is a charismatic intellect who has a way with words (he is a lawyer, after all). But by the end, he can hardly control himself from laughing attacks when faced with the bullsh-t of a television promotion. The more he campaigns, the more he becomes disgusted with the idea of politics — the officials are snakes who know how to manipulate the public. Morals, he finds out, are of little importance to his peers. Sounding good, looking good, speaking well, being agreeable, going against the grain of the now-hated person he's trying to rob the job of — those are the things that matter. You can forget about making the country a better place.

Larner's Academy Award winning screenplay hits all the right notes — not mean but wicked, funny, but not overtly so. It isn't a comedy as much as it is a drama that realizes how ridiculous campaigning is, and it cackles along with McKay's increasing concerns. There is a great little scene that finds McKay in the back of a limo, reciting old lines from previous speeches. But after each sound bite he makes a sound of disgust, whether it be a gag, a cough, or a scoff. The sequence is subtle, yet it speaks volumes; have we gotten to a point in our election process where a particular quote, a particular fragment of a speech, matters more than the overall goal of a candidate?

The film also contains one of Redford's finest performances, capturing his distinctly everyman appeal while heightening the sly humor he can easily project just by uttering a single line. He is the kind of actor that can deliver a line like "We don't have sh-t in common" and still remain likable; he is the kind of actor that can look unfazed by the presence of a cameoing Natalie Wood and not seem like a complete jerk. In "The Candidate", we don't necessarily identify with him. Instead, we jump onto his back as he maneuvers through the jangling dishonesty of the election process.

Here is a movie more interested in saying something than showcasing how great its actors are, how great its direction is. "The Candidate" doesn't move you; it causes you to think. And as the race for the presidency continually heats up these days, it is compelling viewing that has hardly aged in what it has to say.

This is a film about how power, or its possibility, corrupts. Redford is fantastically subtle, and the film itself feels like a documentary which gives you an inside look into the whole process of 20th century ( and unfortunately 21st also) politics. It is "must see" for anybody who cares about politics, and questions himself on why the path to hell is padded with good intentions.