The War Room

I have to admit, I came into watching this film with somewhat low expectations, as the last political documentary I watched was "The Hunting of the President" which I found to be ultimately a weak film, with little to no focus on politics whatsoever. As somewhat of a political junkie, I was impressed by this film's portrayal of what seems to be a rather honest look into the workings of a presidential campaign. However, I think the film misses a few point where it could focus on the actual strategies being made, but it chooses more to focus on the people making the strategies. It gives an interesting look into the "reality" of the campaign, but leaves the overall strategies left mostly unexplained. Still a good film though, enjoyed it a lot. Oh, and by the way, the previous reviewed was right on the mark saying that if you liked this you should read "The Agenda" by Bob Woodward. Same sort of style.

The opening of the War Room is unique. We see Bill Clinton, Governor of Arkansas at the time, looking back into the camera, at the audience, with a baseball cap on his head, and a t-shirt covering his body. About to sit down to have his cereal for breakfast, Clinton is talking casual on the phone to a friend. Like the opening conversation, the War Room is as unique and clever as any political documentary before or after. Most of the world did not known who James Carville was until 1992 / 1993. Most know him as a fast talking, cocky, and brilliant political player. Here, we see a deeper human being with more than just an objective, but a message to America. Behind his tears, we see the truth behind the Clinton Campaign in 1991. Whether you are a fan of politics or don't have the stomach to digest politics, you will enjoy the War Room.

"The War Room" is a fantastic documentary that shows the behind the scenes and takes an inside look at a presidential campaign for president. This film follows then Arkansas governor Bill Clinton's track from the snowy cold first Primary in New Hampshire in January of 1992 to the final victory party on election night in November of 1992. The best scenes are shown in the campaign room when you hear the plans and game plans of the two most important Clinton insiders that being James Carville and George Stephanopoulos. Carville the outspoken and fiery southern who ran the campaign with charm and hard working passion. Really an emotional moment is when James gives his speech at the end by breaking down and crying really a touching moment for the viewer. While Stephanopoulos the brilliant and young bright mind who was an ex Rhodes Scholar does a fine job as the communications director helping Bill dodge and maneuver around such scandals as Gennifer Flowers and the draft dodge. The film also has plenty of highlights from the debates, speeches, campaign tours, and highlights of final election results too. Really a fine documentary of how a political campaign should be done, which most will find both educational and informative.

There is a moment in 1964's "The Best Man" in which Gore Vidal's script has Henry Fonda watching a presidential convention on television. The audience bursts into prolonged applause. Fonda rises to his feet and remarks, "There will now follow four minutes and thirty seconds of a carefully choreographed spontaneous demonstration" (or something like that). The scene was evidently intended to instruct the audience that not everything in a presidential campaign or, by extension, in politics is what it seems. We've come a long way, baby. That audience is now a LOT more -- well, either "sophisticated" or "cynical," depending on your view of human nature.

"The War Room" covers the Democratic side of the 1992 presidential campaign and election in which, you'll remember, Bill Clinton was pitted against George Herbert Walker Bush and Ross Perot. Kids -- Clinton won.

Some of the calculation that went on in the war room, the collective name for Clinton's campaign staff presided over by James Carville and George Stephanopoulis, surprised even me. I'll give one example, with rough quotes.

Carville is sitting around with his dozen or so co-conspirators and one of them brings up the idea of flooding the floor at the Democratic convention with signs in favor of gun control. "We've only got twelve hours," somebody says, "so where are we going to get signs?" "Can't we get the people to print the signs themselves?" Somebody says, "No, no. That way you're going to get a scattered couple of signs. Some will be red on white, other will be white on blue. It will send a mixed message. I just don't think it will have the same impact as a whole SEA of identical signs all over the floor." They're talking about this problem as if they're trying to solve it for the delegates and visitors on the floor of Madison Square Garden -- just being helpful, you know? -- whereas the WHOLE THING is their own idea! For all they know there may not be a single gun-control thought among the multitude of Clinton supporters, let alone enough to create a sea of signs! They carry on in the same way about most of the issues of the time and most of the current events. Bush's campaign is having its posters printed in Brazil. Can this fact somehow be turned against them? Not that the other side is virgin pure. Stephanopoulis has to deal with someone on the phone, evidently a journalist, inquiring about a rumor that Clinton has had a child by a black prostitute. Curiously similar to the rumor circulated about McCain when he opposed Bush during the 2004 primaries. In McCain's case, the rumor was accompanied by photos of "the black child," who was actually a Bengladesh girl that McCain and his wife had adopted. Nineteen ninety-two was only thirteen years ago but things have gotten a lot dirtier in that time.

As a movie, "The War Room" is informative, shot casually as the events transpired. There are no long speeches. But it's unfocused too and the editing sometimes leaves out important developments, which we learn about later. I suppose this can happen when you're just pointing the camera around and not providing a voice-over. And the film makers must have faced the additional problem that there is no logical narrative to the story. Stuff happens, abruptly and unexpectedly. It's not the careful reconstruction of an historic contretemps, like "The Thin Blue Line" or Ken Burns' "The Civil War." The candidates aside, the most memorable people in the film are James Carville, George Stephanopoulis, and Mary Matalin, Carville's opposite number on the Republican side. The two of them are from different political poles. Someone should be doing a cinema verite copy of their MARRIAGE. But they have a lot in common too. They're thick-skinned, devoted, have a sense of humor, and are animated. Carville's face is so curiously constructed that it looks devilishly lively even in repose. He comes from an old New Orleans family. The hospital for lepers at Carville is named for his ancestors who founded it.

I can't say I like George Stephanopoulis too much. He looks like the president of my senior class in high school. He's self-contained, intelligent, thoughtful, clean-cut, handsome, and is much younger than I am. I could live with all the other stuff, but his youth is inexcusable. I'd have liked him a lot better as a stuttering, kyphotic octogenarian who was able to touch the tip of his nose with the tip of his tongue. And his hair was styled so boyishly that I didn't like THAT either.

The personality that's most memorable is Carville's though. He sits there smiling on election eve and begins imagining what Clinton would say at his concession speech should Bush win. And between the chuckles he spins out an improvised, absolutely spot-on by-the-numbers speech for the Governor. I would like to congratulate President Bush on his victory tonight and assure him that all of us are behind him and that this will be a better America with our help and God's and my family most of all my wife Hillary and Chelsea and all those of you who have worked so hard on this campaign I'd like to mention So-and-So and our prayers are with the President and let us all cooperate now and move together towards a greater American co-prosperity sphere, no not that, but a more prosperous and happier American which with God's blessing and blah blah blah. I couldn't stop laughing.

The War Room does a good job of extolling the skills of James Carville and George Stephanopolous. Clearly, their work had much to do with Clinton's victory. A little known fact about the film is that the actual campaign manager, David Wilhelm, refused to participate in it. He didn't like the idea of a camera crew roaming the headquarters and recording conversations that he felt should have been private. Clinton overruled him, of course. As a result, the documentary skews history a bit. The nuts and bolts of running a campaign are ignored while the craft of spin doctoring is glorified. In a visual medium, that's not altogether surprising, and it may even have been unavoidable. But the misrepresentation -- or rather, the selective representation -- has had the unintended consequence of contributing to public cynicism about political campaigns, which now appear to be all about the spin, the framing -- the very things that make voters feel like they're being manipulated. Perhaps a stronger emphasis on the heavy lifting of door-to-door canvassing, phone banking, meetings with interest groups, outreach to local officials, event set-up, and the like, would have given a more complete picture. Then again, those aren't exactly telegenic activities, and documentary filmmakers may have been hard-pressed to incorporate them even if Wilhelm had cooperated. But the troublesome implications remain, and are worth considering.