Bob Roberts

In 1992, the idea of a radical right winger who develops a nearly cult-like following initially based on writing songs that "bug the liberals" (as the folk band "The Goldwaters" did in the mid '60s...and yes, there was really a folk band called "The Goldwaters," and they put out an album titled "Songs that Bug the Liberals") becoming a political force seemed a bit far-fetched. Flash forward 30 years, and we can see how prophetic Robbins was.

Robbins co-wrote (the screenplay and the songs), directed, and stars in this mock documentary as Bob himself, with his big, slightly smarmy grin put to good use. With the state of Pennsylvania serving as a microcosm for the U. S., we watch as Roberts visits both large cities in the state and more depressed rural towns, drawing in fervent followers (including one weirdo played by Jack Black, in his first major movie), and singing songs to "own the liberals."

Roberts has a shady financial past and surrounds himself with similar sketchy goons with a crooked idea of patriotism, like Lukas Hart, a cocky SOB who is seen in one scene demanding an apology over the "Iran Contras circus" (as he calls it in front of Congress). Those who disagree with Roberts at his rallies/concerts are physically assaulted. Media outlets who dare to question him are called "socialists," "communists," and "anti-Americans." Roberts and his circle of radicals are briefly seen in a "prayer circle," led by Hart, and the documentary filmmaker is warned not to film them. And as icing on the cake: Roberts eventually utters these words in front of his cult: "Time to Make America Great Again!"

One has to wonder, did people like Newt Gingrich, Roger Ailes, and Rush Limbaugh watch this early '90s? Seeing how Ailes got his dream "news" network launched four short years later, this was distinct possibility. The idea of the media and politics intertwining has been explored before in movies like "A Face in the Crowd" and "Network," but the semi-documentary approach to "Bob Roberts" gives it a more realistic flavor regarding American politics.

Watching this movie now is alternately amusing and eerie. Robbins is a well-known liberal who populates his movie with friends and co-stars from several of his earlier movies, including John Cusack, Peter Gallagher, and of course his partner at the time, Susan Sarandon. Alan Rickman is fantastic, as expected, as the arrogant, corrupt Hart.

The songs are twisted versions of Bob Dylan classics and could have been written by Christopher Guest and Michael McKean, but were penned by Tim Robbins and his brother David. An interesting footnote: Robbins' father was once a member of the folk band "The Highwaymen," known best for their cover of the Civil War-era song "Michael Row the Boat Ashore."

It is rather perplexing that this movie is so hard to find. NetFlix and other streaming services don't offer it. NetFlix DVD rentals don't even offer it as a DVD rental. It is available for purchase on Amazon. The fact that his movie is so buried makes one wonder if the dialogue spouted by Roberts' nemesis in the film, a reporter played by Giancarlo Esposito, at the end of the film is more accurate than we thought.

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. ;-)

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.

The focus of most of these comments has been on the film's perceived political commentary on American politics.

Let's make one thing clear: This film is a satire, not a commentary; in my opinion it's not about Republicans or Democrats, or conservatives or liberals; it is about the nature of democracies.

The point that the film, "Bob Roberts", makes can be summed up very clearly. Here is the nature of democracies: Voters choose winners over losers, champions over whiners, statements of power over statements of sacrifice. The list goes on; people prefer form over function, youth over age, presentation/entertainment over substance.

This film does transcend political lines; but in it's context, lets take a look at the specifics. Bob Roberts is electable because his message is just vague and occluded enough by his presentation, that he seems likeable. His message is not unique or original; he speaks to the elements that have always appealed to the more right-wing or fascistic elements of society; marginalization of the weak (in this case, the poor), empowerment of the common man, family values, etc.

Roberts' opponent, Paiste, is a textbook liberal; but this contest is not about left vs. right. Paiste is an educated man, and a career politician. He acknowledges the challenges in the American economy. He actually has answers to the issues; whether they are politically favorable or not is not significant. Roberts, on the other hand, says nothing about the real issues; he appeals only to the emotions of the mob, and because he uses the medium of folk music, he offends the sensibilities of liberals (both in the movie, and in its audience), because he uses the authenticity of the 60's and its messages of change, and "perverts" them to express his messages of reactionism and exclusion.

And it works.

Tim Robbins has a winner here, and this film gets overlooked because it gets dragged into these conversations about Robbins' own political views, and whether the film is making a statement about Republicans or Democrats. But Robbins says something far more universal with this film; democracies are not safe from tyranny or fascism; all it takes is a charismatic reactionary who can manipulate the interests of the press and the political interests to rise to power by appealing to the worst elements of our psyche, for entertainment, glamour, and exclusionism. Please remember that Hitler came to power by appealing to the worst aspects of the people of his nation, and was quite successful in creating much evil from that. Being part of a free nation comes with a huge responsibility; to carefully consider who we elect and what we value, and to allow those debates to have meaning. "Bob Roberts" shows us how easily we can neglect that responsibility, and how easily voters can be sold an offensive, exclusionary message, when it is wrapped up in something more attractive than what's real.

This film predicts the current state of the USA. From a politician with a rebel/conservative persona who has people worshiping him and even mobilize for their cause. It seems that every named character is a recognizable face from the 90's. It's a really well made political satire like no other I've seen.