Les marches du pouvoir

Corruption is such a nasty word. It is universally steeped in negative connotation, and is a term applied theoretically to a selfish, unjust misuse of power. Yet, realistically, this evil becomes hard to determine, and many attempts at justification can be made using alternate terms, such as "motivated" or "single-minded". Many of the best social dramas have explored this ambiguous area: in House of Sand and Fog (2003) an unfairly biased policeman was put to work, for once, for the supposed sympathetic protagonist, but we still didn't find it excusable; more recently, in the fiercely intense Contagion, the top doctor leaked confidential information in order to place his wife's chances of survival above the others – in this case, we can understand his position, but the injustice at hand here is still undeniable.

It is very unfortunate in society that the places where corruption is most prevalent are those in which justice and citizenship is supposed to be the absolute goal. Contagion and other similar films expose this in the medical industry, films like L.A Confidential (1997) in the police force, and now George Clooney, as both writer and director, has brought us another razor-sharp political drama that reveals how cutthroat and sinister working in the government can be, even if creating a "free world" is purportedly the overall goal.

Ryan Gosling portrays another robust yet ultimately inadequate young businessman attempting to excel in a challenging line of work. In Fracture (2007) it was the legal system, where, again, his character, Willy Beachum, faced this same temptation when his partners urged him to falsify evidence in order to put away a fiend that they knew to be guilty, yet could find no proof against. Willy resisted admirably, but Stephen Meyers, his more competent yet far less righteous character in The Ides of March, has rather weak moral resolve. He is the talented and favoured staffer of presidential candidate Governor Mike Morris (Clooney), a man whose political philosophies he genuinely supports, and is very anxious to see become president. However, Morris is a man who sticks firmly to his principles and is unwilling to make a strategic compromise. It is an insistence that frustrates Stephen, and indeed his entire team as they see guaranteed victory is within their grasp if he only concedes to endorse the slightly disagreeable Senator Thompson (although neither Jeffrey Wright nor Clooney exactly make it clear what it is that Morris dislikes about him). It is a case of breaking a few eggs to make a good cake, and as Morris continues refusing to do so, pressures mount, the opposition begins to gain the upper hand, and a highly riveting series of complications arises.

Audiences will be happy to hear that they will not have to sit through a ridiculous amount of dry, technical passages of dialogue, sift through needlessly enigmatic storytelling methods and poke and prod their way through murky themes in order to find value in the film. The broader ideas are not all it has to offer, but lie over the top of the solid story foundations to be properly examined upon the reflection that takes place after viewing, as they should. This piece also works as a slickly entertaining, enthralling crime thriller. For while the intricate world of politics can arguably be likened to a game of chess, as it is in the film, the pieces are not stone figures, they are real people whose entire lives become ruined when they are captured by the opposing side/ Seeing as beyond the point of the Senator Thompson dilemma, the plot involves a string of juicy surprises, I shouldn't really reveal much more. All I will say is that Paul Giamati, Phillip Seymour Hoffman, Evan Rachel Wood and Marisa Tomei all give exceptional performances as the key figures involved, and that each of their characters, and at one stage or another, harbours a deadly secret.

Clooney's direction is remarkably apt, particularly in a wordless scene in which Hoffman's character is given aggravating news from Morris inside his car, and we become cheeky onlookers from the outside, not even seeing their faces. He has also done well adapting beau Willimon's play Farrugat North with the help of Oscar-nominated screenplay writer Grant Henslov (Good Night, and Good Luck) and the playwright himself. His performance as Morris is fine work also, but, for the common audience at least, the film really belongs to Gosling, who proves once again that he is more than just an exceptionally handsome teen idol, but the most convincing and versatile young actor since Johnny Depp, with Max Minghella (The Social Network) and Jennifer Ehle topping things off beautifully as part of the supporting cast.

And to talk about alternate thrillers, put this next to also Academy Award-nominated "Margin Call" for screenplay you easily spot the difference, both in the quality of performances and the power of the script. This thriller-drama revolves around Stephen (Ryan Gosling), a smart staffer for a campaign who learns the true face of politics the quick way.

The script is captivating and it draws the audience at the exact moment the film starts, but what satisfies more than the changes in Gosling from the beginning to the end? Ryan Gosling delivers his transition realistically through events that unfold in front of him, with solid and believable performances scene after scene that prove he is a highly capable actor. Gosling's mask-like portrait of the nameless hero in "Drive" is amazing and exciting, but his performance in "The Ides of March" undoubtedly expose to us more of his if not flawless, masterful and flexible acting abilities. And we shouldn't leave out Hoffman and Giamatti, who are both incredible and perfect for their roles, Paul Zara and Tom Duffy, respectively. Clooney is great, but credits should definitely be given to him for the whole package, for his directing and writing rather than his performance alone. Evan Rachel Wood plays a supporting role as Molly Stearns, who is much related to the entire campaign itself and many characters. She is also the key that motivates Gosling's actions.

"The Ides of March" is certainly one of the most powerful and believable political thrillers or dramas out there, so don't miss this for certain.

• dchgl.blogspot.com

You came here from the trailers and the clever poster campaign? Or maybe you came here because you love Clooney and the idea of him doing a political film appeals to you because you agree with much of what he puts his name behind? Or maybe you just decided to watch on a whim? Well for me it was the first two that put it in my mind but the third that saw me pick this from the queue recently. The publicity leave you in little doubt that this is a smart political movie while the names involved all point to something that is worth your time, expensive and very professionally put together. In terms of these latter qualities the film does deliver but it is just a shame that it is not as good as it looks in regards the former.

Let's deal with the superficial first. The film looks great and Clooney deserves credit for the job he has done here as it has a real sheen to it with really well designed shots and a real richness to the look (credit to the cinematographer of course). On top of this the score is just right – a little generic in its tone perhaps but it works and fits the film well. Naturally the cast features a collection of names and faces for whom quality is the norm and generally the film looks and feels like it is a really good product. The only place where it falls down is that it isn't quite as smart as it thinks it is. The story is fairly straightforward and the "message" (if that is the word) is equally simple; this puts a lot of pressure on the lead character of Meyers to be engaging and thrilling in his journey into the murky compromises and twists of politics – and this is the problem, it doesn't come over that way.

The solid plot holds the attention and the sleek presentation feels like velvet throughout but the real meat of the story here needs to come through Meyers and sadly the material just doesn't make this happen. In terms of narrative he has it, but in terms of heart and soul of the man, it is lacking and as a result the film is lacking. It shows in Gosling's performance; he is a good presence, easy to look at and follow but he doesn't have enough within him to lift the film. I watched A Single Man the other day, in which Colin Firth delivered a great and nuanced performance that carried that entire film – this needed Gosling to do that, but he didn't and/or couldn't with what he was given. Clooney is good in an easier role as are Hoffman, Giamatti, Tomei, Wright and others but they are the dressing around Gosling's character and as good as they look, they cannot hide the fact that the centrepiece just isn't as good as the trimmings suggest.

It isn't a bad film, indeed I quite enjoyed it as it went along, but it is a lot less satisfying than it looks like it will be. Really professional and polished but the heart of the message doesn't come out and the central character doesn't deliver as they should. Solid, but neither as sharp or as smart as it thinks it is or as it should have been.

Stephen (Ryan Gosling) is a razor-sharp, rising star political media consultant. Presently, he is working on Pennsylvania Governor Mike Morris' (George Clooney) campaign for the Democratic presidential nomination. Steve-o has only one man above him, overall campaign manager Paul (Philip Seymour Hoffman). The two consult each other daily. The governor has a single chief competitor, an Arkansas senator with his own astute adviser, Tom (Paul Giamatti). At the moment, the Ohio primary is looming and the staff is working out of Cincinnati. One of the governor's lower-level workers is beautiful Molly (Evan Rachel Wood), the daughter of the present head of the National Democratic Party. Only 20, she is just learning the ropes. One day, she makes a pass at Stephen and he responds positively. But, he makes it clear to her that politics is his passion and, especially, Mike Morris, his idol. Indeed, Morris is handsome, smart, and appears to speak sincerely and clearly to potential voters. Yet, very soon after their first encounter, Molly drops a bombshell on Stephen. It is a stunning piece of news, one that could knock the earth off its axis. Also, amazingly, Tom has been courting Stephen to "switch sides" while a respected, determined journalist, Ida (Marisa Tomei) is eager for any and all campaign stories. A cauldron of conflicting genuine and perceived realities is brewing. What will be the result? This is a fine film, based on a stage play, and directed by Mr. Clooney. While the story is more predictable in nature, the script has some great lines and Clooney's direction is quite, quite admirable. This is particularly true of the performances he draws from the cast, with Gosling, Hoffman, Giamatti, Tomei, Clooney himself, and especially Wood giving great turns. All the film's amenities, from sets, costumes, and camera work, are also nice. If you are a discriminating film buff, who loves quality flicks with ample discussion points, then I'd suggest you see Ides at your earliest convenience.

It's difficult to write a review about this film. It's so full of contradictions (artistic and otherwise) that it leaves you with a funny aftertaste. The film is about an idealistic young man working as a consultant for a campaigning politician and the conflicts and dichotomies he has to face if he wants to remain whole and with his integrity unbroken. Purely from the filmmaking standpoint, the movie will remind you of political thrillers of the 70s made by Alan J. Pakula or Sydney Pollack. It's beautifully shot, has a great script, a very ad-hoc music score, great performances by everyone involved. The way the story and main character evolved, however, lacked coherence and at one point I was under the impression I was watching a fragment of a different movie. Somehow it went from A to D, skipping B and C altogether. That alone changed my viewing experience from fully satisfying to one that, as I said at the beginning, left a funny aftertaste. The movie is more of a character study than a political thriller per se; as the former, it works mainly because of the performances by actors who are able to convey the inner conflicts they face. As the latter, don't expect to be taken aback with unpredictable twists or edge-of-your-seat suspense, because you won't find those here. I give it a 7/10.