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All politically themed films face the temptation of shoehorning modern-day relevance into their proceedings whether it belongs there or not. Charlie Wilson’s War, the latest film from director Mike Nichols, doesn’t generally have this problem; its relevancy comes prepackaged with the subject matter.
Based on a true story (and a book of the same name), the film centers around Texas Congressman Charlie Wilson (Tom Hanks). Wilson is an alcoholic and a womanizer, and is that rare breed of philanderer whose debauchery somehow adds to his charm. His chief concerns are getting reelected and not getting caught, but as the film progresses he takes an increasing interest in the situation in Afghanistan, where the Soviet Union is massacring the population.
His burgeoning interest is helped along by Joanna Herring (Julia Roberts), the sixth-wealthiest woman in Texas, whose religion has made her fiercely anti-Communist. Wilson, she notes, sits on two key Congressional committees, and represents a district which asks very little of him. He is the one man, it would seem, in a position to secure the funding necessary to arm the Afghans with the modern weaponry they need to repel the Soviets. Along the way his path is crossed with that of Gust Avrakotos (Phillip Seymour Hoffman), who plays a boisterous spy who knows what he’s doing, but manages to alienate almost everyone he comes into contact with.
Of course, with four Oscars spread among the film’s three principle actors, it should come as no surprise that the performances range only from good to great. Roberts does a fine job playing the southern belle who seduces Wilson into investigating things for himself. Hanks has charm to spare as the impulsive, transient Wilson. And Hoffman steals the show as the boisterous Gust who, to be fair, gets most of the best lines.
Though a bit short for a film of this nature at only 97 minutes, writer Aaron Sorkin still manages to run the audience through the gamut of emotions. Charlie Wilson’s War plays out like a straightforward comedy for the first half-hour, until its world is upended by Wilson’s visit to the refugee camps in Pakistan. There he witnesses the horrors of the war being fought, and his true character shows through in his resolve to fix the situation.
It’s not easy, of course, and Sorkin does a good job of maneuvering us through the Congressional system in a way that is easy to follow, but which also shows us just how hard it can be to get things done in the world of politics. In one scene, Charlie and Gust employ a belly dancer to distract the Egyptian minister of defense long enough for them to arrange for a weapons sale with his deputy.
Most of the time, the film is thoughtful and measured. It recognizes both the moral inevitability of foreign intervention, and also the tremendous complications which can arise from it. It overstays its welcome by a scene or two, however, and takes a rare misstep with an on-screen quote at its conclusion that would seem to undermine an otherwise nuanced message.
Nevertheless, Charlie Wilson’s War exhibits incredible polish in all of its facets. It is extremely well-directed, well-acted, and well-written. For most of its duration it has the effortless, breezy feel of an Ocean’s Eleven; everyone involved knows what they’re doing, and it shows.
Funny and thoughtful, witty and poignant, Charlie Wilson’s War is the inevitably impressive result when professionals of this caliber come together at the top of their respective games. It lays all the cards on the table for us, so that we can see what a complicated game its characters are playing.
Based on a true story (and a book of the same name), the film centers around Texas Congressman Charlie Wilson (Tom Hanks). Wilson is an alcoholic and a womanizer, and is that rare breed of philanderer whose debauchery somehow adds to his charm. His chief concerns are getting reelected and not getting caught, but as the film progresses he takes an increasing interest in the situation in Afghanistan, where the Soviet Union is massacring the population.
His burgeoning interest is helped along by Joanna Herring (Julia Roberts), the sixth-wealthiest woman in Texas, whose religion has made her fiercely anti-Communist. Wilson, she notes, sits on two key Congressional committees, and represents a district which asks very little of him. He is the one man, it would seem, in a position to secure the funding necessary to arm the Afghans with the modern weaponry they need to repel the Soviets. Along the way his path is crossed with that of Gust Avrakotos (Phillip Seymour Hoffman), who plays a boisterous spy who knows what he’s doing, but manages to alienate almost everyone he comes into contact with.
Of course, with four Oscars spread among the film’s three principle actors, it should come as no surprise that the performances range only from good to great. Roberts does a fine job playing the southern belle who seduces Wilson into investigating things for himself. Hanks has charm to spare as the impulsive, transient Wilson. And Hoffman steals the show as the boisterous Gust who, to be fair, gets most of the best lines.
Though a bit short for a film of this nature at only 97 minutes, writer Aaron Sorkin still manages to run the audience through the gamut of emotions. Charlie Wilson’s War plays out like a straightforward comedy for the first half-hour, until its world is upended by Wilson’s visit to the refugee camps in Pakistan. There he witnesses the horrors of the war being fought, and his true character shows through in his resolve to fix the situation.
It’s not easy, of course, and Sorkin does a good job of maneuvering us through the Congressional system in a way that is easy to follow, but which also shows us just how hard it can be to get things done in the world of politics. In one scene, Charlie and Gust employ a belly dancer to distract the Egyptian minister of defense long enough for them to arrange for a weapons sale with his deputy.
Most of the time, the film is thoughtful and measured. It recognizes both the moral inevitability of foreign intervention, and also the tremendous complications which can arise from it. It overstays its welcome by a scene or two, however, and takes a rare misstep with an on-screen quote at its conclusion that would seem to undermine an otherwise nuanced message.
Nevertheless, Charlie Wilson’s War exhibits incredible polish in all of its facets. It is extremely well-directed, well-acted, and well-written. For most of its duration it has the effortless, breezy feel of an Ocean’s Eleven; everyone involved knows what they’re doing, and it shows.
Funny and thoughtful, witty and poignant, Charlie Wilson’s War is the inevitably impressive result when professionals of this caliber come together at the top of their respective games. It lays all the cards on the table for us, so that we can see what a complicated game its characters are playing.