Ciudadano Bob Roberts

An amazing work!

Twice I had to confirm the release date of 1992 since this film's precise and uncanny applicability to the events of this last year were amazing. The political dynamic under which this country suffers today - along with the cabal currently installed in the White House that employed precisely the same tactics as defined in this film - were recreated, or more accurately foretold, with an uncanny truthfulness, precise focus, and vivid clarity.

Tim Robbins' direction, writing, and acting were all phenomenal; I never really fully appreciated his talent and brilliance until this film; Gore Vidal's contribution was a special treat from both a fine actor and a remarkable intellect.

Well worth the time - and a replay or two to capture, fully, all of the nuance and insight of this fine work.

A broad take on arch-conservatism in American politics that rings true on many levels, false on others. The songs and videos are the weak points--simple and shallow as they are, it's hard to buy that Bob Roberts could have had any commercial success at all. On the other hand, the portrayals of the newscasters and Roberts' followers are a beautiful mix of satire and truth.

There are so many broad caricatures on this film, I found myself wishing that Tim Robbins would have toned it down for the sake of believability. This film lays it on a little heavy, which keeps it from being a more important work. None the less, it is eerily more timely in 2003 than it was in 1992.

As you will read, this is a highly political movie which may be friendly or unfriendly to your political sensibilities. Keep that in mind when you read this, or any, review. ;-)

I can understand why Republicans would be upset by this film, but I think that Democrats and/or small-"l" liberals should squirm when they watch this, too. The real sting in this film is that, devious and repulsive as Bob Roberts is, he is far more charismatic and interesting than his tired rival, Brickley Paiste (Gore Vidal), and he has managed to appropriate all of the weapons of the 1960s protest movements (including that most sacred insitution of all, folk music) and use them with a vigour that is scarily convincing. Roberts has the adulation of young men and women (watch for a young Jack Black as a smitten fan), the power of the record industry, and access to concerts halls and media coverage to get his message across. What does the left have? A rabid underground journalist (Bugs Raplin), a goofy "Saturday Night Live"-type show (Cutting Edge Live) that may once have been edgy, but now just seems silly (even Roberts himself is a fan), a tired old senator droning on about social programs (Paiste), and a few strident voices crying in the wilderness, (including the journalist played by Lynne Thigpen). Roberts has replaced Bob Dylan as the "voice of his generation" (Robbins includes a hilarious riff on Dylan's "Subterranean Homesick Blues" video from "Don't Look Back"). Robbins' real target here is how the ideals of the 60s have failed miserably, how times have changed back, and how greed, self-interest and intolerance have become the new order of the 1990s (and continue today). Roberts is *not* George Bush (senior or junior)--he's a much more frightening animal who shows up just how the voices of dissent have dwindled into insignificance.

Tim Robbins has made one heck of a statement with this film presenting politics as it really is, crooked and disturbing. The screenplay is brilliantly clever brimming with brutal honesty about the political battle in washington.Robbins plays the right-wing politician perfectly portraying a crooked yuppie business man willing to do anything to get elected to the US Senate a must see film one of the best films of the decade.

Okay, make no mistake: Bob Roberts is definitely not the most subtle film ever made. It's not so much a veiled attack on the American right-wing as it is an all singing, all dancing celluloid spit in the Republican party's face. It's also as paranoid as a junkie, and almost proudly one sided, which might be why it has slipped into relative obscurity - it's a film that could be very easily dismissed as a piece of left-wing propaganda, directed by and starring Tim Robbins, an outspokenly leftist actor.

But, Bob Roberts is a film that deserves a lot more attention than it receives, largely because unlike a lot of political comedies, it's actually funny.

Bob Roberts is a mockumentary about a right wing politician/folk singer named (unsurprisingly) Bob Roberts. Roberts is a kind of anti Bob Dylan, whose modus operandi is to emulate the spirit of the folk singing radicals and then deliberately turn their message on its head - he sings songs about enforcing the death penalty on drug dealers, and the positives of investing in the stock market. Dylan provides such an obvious touchstone for the character that it's arguable the whole film is as much a spoof of the Dylan documentary Don't Look Back as it is a political satire.  The songs are a good example of what makes this film work. Sure, they're unashamedly political and barbed - they're the kind of spoofs that you'll now find dime a dozen on youtube - but they are so painfully earnest and straightfaced that they're kind of hypnotic. In Bob Roberts, Robbins has created a character who absolutely believes the terrible and terrifying things he sings about, and he plays the part with a wide eyed enthusiasm that makes you laugh, but in that oh so unsettling "I'm genuinely disturbed by this" kind of way.  The jokes are totally underplayed, save for an out of place 'before they were famous' Jack Black cameo appearance. He's the only actor who inhabits his role as if it's meant to be funny, all but giving the audience a big fourth wall breaking wink. Everyone else, however, lets the humour come naturally from the insanity of what they're saying: they don't gurn to the camera. From Alan Rickman's performance as the shadowy Big Business agent to Gore Vidal as Bob Roberts' running mate, the rest of the cast play the thing totally straight-faced.

Sure, the movie's pretty preachy, but it never becomes boring: at a lean 102 minutes, it's a freight train of a film, spitting out characters, situations, and genuinely thrilling plot twists.

Best of all is the film's ending, which is as cutting as the punchline to a sick joke. There's no messing around to this one. The conclusion socks you in the guts then carries on its way, whistling Bob Roberts' "Drugs Stink" as it goes.