REVIEW: Frost/Nixon [2008]

Rating: R | Runtime: 122 minutes
Release Date: December 5th, 2008 (USA)
Studio: Universal Pictures
Director(s): Ron Howard
Writer(s): Peter Morgan / Peter Morgan (play)

I let them down

If you want a film to show the problems of drinking and how it can ruin your life, Frost/Nixon fits the bill. I jest somewhat because, of course, that’s not what this story is about. However, if what is shown is to be believed, a drunken night of nerves and fear on behalf of Richard Nixon might have been his ultimate demise. After steamrolling interviewer David Frost in an attempt to reshape his image from recently disgraced and resigned back to presidential, the alcohol became the nail that finished his political career forever. One phone call turned the tide, one moment of weakness and hubris lit a fire under a playboy performer to create a journalist on a mission to uncover the truth and save his own life from absolute collapse.

Nixon was correct when screaming through the phone that only one of them can come out on top. All he had to do was stay quiet and let the chips fall, but a man that never had it easy or the looks and natural charisma necessary for public life had to take one last shot. One last-ditch attempt to instill the fear he felt into the man across the table. It’s a misstep that he doesn’t even remember, so whether it happened is up to the memory of Frost. But this unbelievable turn of momentum can only be explained by its truth. If this film did anything, it gave me the passion to seek out the actual interview to watch that close-up moment when television molded reality into exactly what it wanted.

Based upon Peter Morgan’s own stage play, this film is perfect for a guy like Ron Howard. He’s the kind of director who makes solid films without ever cultivating a unique style to make him an auteur. He’s a hired hand—complimentarily so—who excels at non-fiction stories by getting great performances from cast that ultimately drive the story without the need for flash. When he attempts an adaptation of fiction, like with The Da Vinci Code, his static style renders the fantastical boring with any moments of visual splendor proving forced and out-of-place. Give him reality like Apollo 13 or A Beautiful Mind, however, and he’ll direct the hell out of it.

Frost/Nixon‘s theatrical two-hander is the perfect fit. It becomes a boxing match (Kevin Bacon’s Jack Brennan’s metaphor is uncanny) between two giant personalities clashing and jabbing and trying to keep the other off-balance. Frost becomes Muhammad Ali, taking the punches and abuse until the last possible second before countering with an uppercut of his own. That punch connects to stagger his opponent into finally relenting and giving the public what it had been begging for.

The word “static” has a negative connotation, but this structured and composed style is exactly what’s needed here. While Howard never makes the movie feel like its on a stage, his wonderful use of minimal angles and pans maintain an effective intimacy. The camera stays focused on the performers, allowing them to become the men they’re portraying. That’s what envelops us into the story—tricks and effects are unnecessary.

And with the bravado of Frank Langella embodying Richard Nixon, that’s all you need. His performance is superb. He fully transforms into the fallen leader—playing mind games, constantly smiling a sly grin, working the crowd, and reinvigorating his image. That aforementioned scene with the phone call is fantastic. A star-making monologue if there ever was one that has me wishing I could have seen this play. Because Langella’s formidability on-screen is surely a fraction of the power he’d exude on stage.

But don’t count out the rest. Michael Sheen is a personal favorite and he doesn’t let me down. His transformation from ladies man talk show host to driven journalist is on par with Langella’s confident trickster to beaten and ragged man. Sheen shows the duality of Frost’s ego making him successful abroad yet fragile in the states—something he desperately wants to change. Unfortunately, this charade with the former president might not have been the best idea to do so. Without funding, distribution, or faith from his closest advisors and friends, Frost went out on a limb and sacrificed everything for one shot at giving Nixon the trial he’d never have.

The who’s who of supporting characters bolsters the leads and allows them to do their thing. Toby Jones is a complete surprise as Swifty Lazar. Between the bald head, tough accent, and hard demeanor, I couldn’t believe this man who usually plays nerdy intellectuals (Truman Capote anyone?) was taking charge. Rebecca Hall adds to her great performance in Vicky Cristina Barcelona, Sam Rockwell does nice work as the crack reporter with more than fame invested into his work, and Oliver Platt excels … especially with his own Nixon impersonation. I also enjoyed the complete transformation of Matthew Macfadyen as John Birt. This guy played Mr. Darcy in Pride and Prejudice and here he is as a bookish producer no one would say is getting by on his good looks. These actors are firing on all cylinders to mirror the film itself as a whole. It’s a story made all the more intriguing knowing it’s true, and, as a film, very entertaining as a showcase for some of the year’s best acting.