The Ides of March just sounds like a cool name. Right? And while it certainly tips the viewer to the film's somewhat tragic elements, the film doesn't deliver as much as it aspires to in the tragic realm. Though it recalls some of the Shakespearean themes with the title, the film refuses to truly dig the dagger into the back of the tragic genre. Following the tale of power and politics (Aren't they sort of the same thing?) on the campaign trail, The Ides of March paints a sobering view of the American political climate displaying the back-room deals, the tawdry scandals, and the overall lack of accountability. Ryan Gosling plays Stephen Myers, a rising star in the political word as a press secretary working for presidential hopeful Mike Morris, the favored democratic candidate. I use the term "hopeful" because the film was supposed to be made in the midst of the '08 campaign, but the producers decided that they didn't want to be Debby-downer while everyone was keeping hope alive.
Political intrigue is a logical realm for high-stakes drama; I think Clooney as director does a well enough job of capitalizing on it, though the film is not as high-minded as one would hope.
Let's take a look at the lead performance by one Ryan Gosling. I liked his execution more than his actual interpretation. I don't think the role had as much bite, by that I mean he is a little too "lamb to the slaughter" then I think the material deserved. As I hinted earlier, the film has a stated relationship with the tragedy that it doesn't quite deliver on. Myers' transformation from a idealistic staffer to a disillusioned veteran, though convincing doesn't sear the heart in the way that tragedy is meant to. He leaves too many remnants of his former self in the final scenes. I don't want to give too much away, but pay attention to the last shot and you'll know what I mean.
That said I think he holds his own in most of the scenes that he gets into with some truly amazing actors. Paul Giamatti slays as usual; Phillip Seymour Hoffman delivers as well. There aren't any bad performances. Of course, you wouldn't expect anything less from a star studded cast. But there aren't any fireworks between these guys. The script doesn't deliver the whip smart dialogue or brilliant soliloquys you crave for a movie about politics which basically translates into a movie about bullshitters. And if I know one thing about bullshitters, they really know how to talk.
The direction of the film is very solid. There are a couple of scene in which Clooney relies mainly on the camera to tell the story, which is the mark of any great director. Although the tale is somewhat predictable he does a sharp job on some reveals. It's a movie that gets better as time wears on, which oddly is when the film actuates some of its Hollywood thriller beats and turns away from being a political survey. From a visual stand point, a couple shots jump out at you one specifically is a beautifully silhouetted scene between PS Hoffman and Gosling against a backward American flag. The two discuss some of the wheeling and dealing that happens on the political trail with a solid, but not so subtle reminder of the themes of the film.
All and all, I had a positive experience with this one. It takes a second to set up the tension and stakes, but the performances are enough to keep the film afloat. Though tragically, there isn't much more.
