Secret Honor

A great film, if you can find it. I first saw it nearly ten years ago, and it still is fresh in my memory. This is a one man show (Hall is the only actor in the film) and an adaptation of a stage performance. The simple premise: Several years on from his disgrace, Nixon is in San Clemente and sits down with a bottle of Chivas and his old friend, the tape recorder, to spill his guts before he commits suicide. Hall is captivating in the role and his descent into drunken madness is a masterful performance. One of Altman's best. A bit of a history lesson, but one that is more interested in theater than in truth. Still, great theater reveals its own truths and there is plenty here to chew on.

Any individual is a puzzle, and Richard M. Nixon was no exception, rather living proof. To those who know him and his story (wether through a variety of books or personal experience or even through Oliver Stone's excellent "Nixon") this is a magnificent epilogue that instead of tying all loose threads together, reopens wounds and reformulates old and tired questions.

The film is a mix of fragments of a complex and important life (one that helped shape the modern world) and an equally complex mind. Since only a very long (and impossible, given the obvious budget) running time could grace this with a tight sense of structure, the performance becomes the binding element, which is the key element of this picture. Whether you are interested in history, Nixon himself, character suffering, paranoia, film or acting, this is a must-see, if only for the brilliant performance by Philip Baker Hall. His portrayal of Nixon blows Anthony Hopkins's away in terms of accuracy and is a mighty challenger in terms of acting alone. He may be less sympathetic than Hopkins, but such was one of the real Nixon's flaws (in interviews the real Hall is quite charming!).

Turning a play - especially a one-man-show - into a film is quite a challenge, but Altman, through simple yet effective means (notably the use of security-camera monitors and portraits), cranks up the intimacy and paranoia, ending the film in an uneasy and dark manner that would never be conceivable on stage.

In fewer words, suffice to say that this unusual little film is in truth a giant in movie-making resourcefulness and talent. Unmissable.

"Secret Honor" is an actor's wet dream.

This screen adaptation of a one-man play stars Philip Baker Hall as Richard Nixon on the dark night that follows his resignation from the office of President of the United States. The film makes clear from the outset that it is not a representation of facts but rather a fictional exploration of the thoughts and feelings that may have been torturing Nixon at the time. Hall has the screen to himself and gives a fierce, if rather one-note, performance. The material isn't very deep and doesn't give Hall a lot of room to explore, but I suppose it succeeds on its own modest terms.

Robert Altman made this film at the apex of his disenfranchisement from the mainstream Hollywood system. He filmed it at the University of Michigan with the assistance of Michigan students, and the tiny budget and minimal resources show. It's not remotely cinematic, though Altman makes a solid effort to make it so. Though the action is confined to Nixon's private office, Altman frequently pans his camera over to a bank of security cameras that Nixon has trained on himself, so that much of the time we're watching an image of Hall on a T.V. monitor rather than Hall himself. The message is clear -- Nixon, and by extension any politician, is constantly performing, even in his most private moments. Once one takes the oath of the presidency, he can't ever stop being the president. How good a job would any one of us do under similar circumstances, and how harshly do we have the right to judge our leaders?

Admittedly, much of my lack of enjoyment of "Secret Honor" is my own fault. It made me realize how little I actually know about Nixon's presidency, which was over in the years just before I was born, and I wasn't able to understand many of the film's references. As is often the case, my knowledge of the more distant past is greater than events that have occurred within my lifetime.

Grade: B

Sometime in the late 70's, the 37th President- Richard Nixon- decided to set the record straight. In his study, alone but for a bottle of Scotch and a loaded revolver, he sets the tape deck to record and starts to tell his tale. So begins a fascinating, illuminating and thoroughly candid monologue that explores what Nixon may have been feeling, what he was thinking; and why his presidency and very name became synonymous with scandal.

Robert Altman's 'Secret Honor'- based on the play 'Secret Honor: The Last Testament of Richard M. Nixon' by Donald Freed and Arnold M. Stone- seamlessly weaves fact with fiction to create a thoroughly believable and strangely compelling portrait of a man too often in film and television resigned to the realm of caricature and cast in black and white. The real Nixon was a man of immeasurable greys, and Freed and Stone's powerful screenplay lays that fact bare.

It is neither an overly sympathetic work, nor is it a scathing summation of Nixon's legacy. It is balanced, unbiased- in fact, surprisingly so, considering Altman's noted and vocal political leanings. It shows Nixon to be one full of contradictions and divided loyalties, a deeply paranoid man not comfortable with people, but still one who craved attention and demanded respect. He is not the villain most films make him out to be, neither is he a saint. Through their barbed, witty monologues, Freed and Stone show us Nixon's character like few other films have succeeded - or even tried- in doing.

Freed and Stone's writing is remarkable because it is so vitriolic and yet so sympathetic you begin to see Nixon not as some political figurehead or legend, but simply as a man; one of fallibility, doubts and self-interest like us all. Oliver Stone would try to do something similar with his 'Nixon' in 1995, but 'Secret Honor' was much more successful at bringing a complete, well-rounded portrait of the man to life.

Of course, 'Secret Honor' also benefits from having the late, great Philip Baker Hall starring as Nixon, delivering a tour-de-force performance that justifiably jumpstarted his career in film. He showcases the self-pity and ego inherent to Nixon's character in a subtle manner, while also imbuing the man with a sympathetic, humane streak. So perfectly does he capture Nixon's mannerisms, his presence, his vocal eccentricities, that it is as if the real President had possessed Baker Hall for the ninety minutes of the film's runtime.

Ranting and raving into his tape recorder, racing through the study in his red-velvet smoking jacket; at times you feel that you're watching some kind of documentary that the 37th President drunkenly agreed to take part in. Baker Hall's is an intense, incredible piece of acting that is not just the finest Nixon we've ever had on screen, it is one of the greatest performances in any Altman film point blank. That is not even to mention the fact that the film is a one man show, and Baker Hall keeps us glued to the screen the whole time.

Filmed on campus at the University of Michigan, 'Secret Honor' is simply, stylishly shot. Pierre Mignot's cinematography is fluid, unobtrusive work that has room for symbolism and visual metaphor, but is never pretentious. Stephen Altman's production design is texturally rich, though in a minimalist fashion. Nixon's study- the only location in the film- is decorated convincingly, containing the staples one might assume the 37th President would have: a piano, photographs from his career, various CCTV cameras; copious amounts of Chivas Regal. Though adapting plays to film can often be difficult in terms of visuals and staging; Altman's crew on 'Secret Honor' did a masterful job.

'Secret Honor' is a masterpiece of cinema, a sharply written, witty character study of one of the most notorious Presidents in history. It is not a politically biased work, though that doesn't mean it doesn't contain criticism of Nixon's policies and time in office. It is a film that is always believable and never melodramatic- an honest examination of the man's character; and as Nixon himself once said "honesty may not be the best policy, but it is worth trying once in a while." 'Secret Honor' is well worth trying.

If you ever get a chance to see this film, grab it! Phillip Baker Hall doesn't simply portray Nixon, he inhabits him. The familiar hunched shoulders and odd poses employed by every Nixon impersonator, in Hall's hands seem less like imitation than brilliant artistic choices, revealing the inner struggles of a remarkable, tormented man. No disrespect to Anthony Hopkins, unquestionably a very talented actor, but his Nixon doesn't hold a candle to Hall's.

This is of course a work of fiction, but like the best fiction it lies in order to reveal a deeper truth. Nixon never made the tape we see him creating through the course of this film, but what is revealed through it is both psychologically and historically honest. The portrait that emerges is unsparing and sympathetic. Nixon emerges as a hero in a Greek tragedy with the same grandeur and the same tragic flaw.

Fans and critics both of Richard Nixon will find their judgements challenged by this complex, revealing portrait. Even someone who has never heard of Nixon couldn't help but be fascinated by this powerful, complex man.

Note to PT Anderson fans: According to Anderson, this was the performance that convinced him he had to work with Hall. It's no accident that Anderson's first full-length film, Sidney (or Hard Eight), was a showpiece for Hall's amazing talent.