saving the drowned
by Douglas Messerli
Rod Lurie (screenwriter
and director) The Contender / 2000
The film begins well enough, with a
sudden plunge of a car into the waters near where Governor Jack Hathaway
(William Petersen), a Democrat from Virginia, is fishing with a male assistant.
The Governor miraculously escapes the car, attempting—but alas failing—to save
its other occupant, a woman friend who has accompanied him on the trip.
His valiant attempt to save the woman has
made him a kind of hero in the eyes of many, and he is a shoo-in, so some
claim, to be President Evans’ (Jeff Bridges) Vice-Presidential appointment to
replace his former Vice-President, who has apparently died in office. When called to the White House, we can see
Hathaway almost drooling with anticipation for his appointment; yet, somewhat
inexplicably, Evans deflates the governor, explaining that he plans to extend
his legacy in his second appointment by choosing a woman for nominee,
Republican-turned-Democrat Senator, Laine Billings Hanson (Joan Allen) of Ohio.
So far, so good, the film having
interestingly mined two major political events for its subject matter:
Kennedy’s accident at Chappaquiddick and Presidential Candidate Walter
Mondale’s choice of Geraldine Ferraro as his running mate.
With a kind of cold passivity that is not
only slightly unbelievable but helps to make Allen’s character almost
unbearably passive, Hanson, under the scrutiny of the House Judiciary
Committee, determines to take the high road, refusing to discuss her private
sexual life in any form, insisting that she is open to all matters political,
which the sleazy Runyon and associates cleverly refrain from asking while
insinuating through cynical denial that, not only is Hanson a whore, but that
she has taken money for those sexual acts, opening her up to a charge of
prostitution.
Lurie’s script insists that were Hanson a male
candidate, her long-ago indiscretions would be utterly ignored; but we know,
given the dead-ended careers of several congressional and gubernatorial
candidates (Edwards and Wieners* immediately come to mind, although,
admittedly, their behavior occurred during their campaigns instead years previous
to it. Even the not-so-saintly fictional Hanson votes to impeach Clinton, we
discover mid-film, because of his “responsibility” for his sexual behavior)
that sex is still a potent factor within the American consciousness. Lurie
might have done better to explore that very fact: why is it that Americans are
still so puritanical when it comes to their public figures’ sexual behaviors?
Unfortunately, Lurie drops the whole issue
by revealing that Hanson, despite her refusals to deny or admit her past sexual
“deviancy,” was, in fact, innocent. Expected by her sorority sisters to
participate in the orgiastic celebrations, she has refused to go along, leaving
the event even before it had begun. The pictures held by Runyon and, now, by
the media are of another woman; and the rumors about Hanson’s own participation
are, as she puts, “urban legend.”
Not only is this a cop-out, I would argue,
but it renders Evans’ moment of rising to greatness by refusing Hanson’s
resignation quite meaningless, particularly since he has also discovered,
through his own back-street investigations that Runyon’s favorite, Hathaway has
paid his woman companion to join him in the drowning so that he might be able
to save her—an action that has turned him from a potential hero into an obvious
criminal.
Runyon is politically outed in front of
the entire legislative body, and, presumably, goodness and wisdom has been
revealed to all. Not even Capra’s Mr.
Smith Goes to Washington provided such a lame example of political majesty.
What if, a little voice in my head keeps
asking, the Vice-Presidential candidate had really participated in and enjoyed
the orgy in which she has wrongly purported in having been involved? What if
she had actually committed adultery? Would that have meant that she was any
less of a significant candidate, politically speaking, for the job? We all know, of course, that such actions
would have led to the contender’s immediate dismissal and, likely, the end of
her career. Certainly, the uplifting message of Lurie’s fable would have become
impossible. Just as Runyon perpetually twists truth throughout this tale, so
too has the writer and director, who has made it easy for us to buy into this
contender’s right to be a winner. Even Gore Vidal’s President in the author’s
his creaky stage drama, The Best Man,
was forced to make a compromise. While Lurie’s complacent Evans becomes an
immediate hero, by saving the woman who, politically-speaking, nearly drowned.
That nagging voice, however, will not go away: is Evans really any different
from Hathaway? Well, yes, the writer has made it far easier for him to save the
gal and win the public adulation which all politicians obviously seek out. And
so too has Lurie pretended to create a feminist hero only so that he, like a
macho-hero, can save her from drowning.
*New York Democratic Representative
Anthony Weiner resigned was forced to resign from Congress after texting a suggestive
photo of himself to a woman following him on Twitter. Another controversy
erupted when he texted to another woman during his New York mayoral race.
Former senator from North Carolina and Vice-Presidential running mate
for John Kerry, John Edwards was found to be having an extramarital affair
during his 2008 Senatorial campaign.
At almost the very moment that I completed this review-essay, I opened The New York Times Magazine of September
21, 2014 to find a cover article by Matt Bai, “Legend of the Fall,” on
precisely the same kind of situation in which the Vice-Presidential nominee
finds herself in The Contender.
Recounting the end of the 1987 Democratic candidate for President, Gary
Hart—not only the likely Presidential candidate but a man far ahead of George
H. W. Bush in the pre-convention polls—Bai suggests that the press’ treatment
of Hart, coming as it did on the heels of the Nixon cover-ups as reported by
Bob Woodward and Carl Bernstein, represented a new shift in journalism. Prior
to this period, journalists focused on the campaign issues of their subjects,
emphatically steering clear of their private lives (Theodore White is quoted as
being reasonably sure that of all the candidates he covered, only three—Harry
Truman, George Romney, and Jimmy Carter—“hadn’t enjoyed the pleasure of ‘casual
partners.’” But suddenly in the wake of the Woodward-Bernstein revelations
about the private personae of a trouble President, reporters sought out all
information about their subjects, permitting the public to determine whether or
not the information they uncovered had any value in terms of their competency
as a politician. Hart, who, like Kennedy one might argue, openly if
clandestinely was involved with several women other than his wife, with whom he
had had a troubled relationship. In this case he was literally tracked down
and, as Bai makes clear, stalked outside his home by reporters from the Miami Herald, who, confronting him in an alley
outside Hart’s home, demonstrated the candidate’s difficulty in handling
questions about his affair with Donna Rice. Like Hanson in Lurie’s film, Hart
also attempted to argue that his private life was no business of the press. But
with a photograph and other evidence in hand, there was no way he might
possibly escape published accusations, and was soon forced to abandon any
Presidential aspirations. Bai, highly sympathetic to Hart’s moral dilemmas,
quotes former senator Bob Kerrey: “We’re not the worst thing we’ve ever done in
our lives, and there’s a tendency to think that we are.” And the sad thing,
suggests Bai, is that ever since Hart, in protection of their personal lives,
candidates have been terrified to speak out about their personal viewpoints,
refusing to reveal any aspect of their inner beings that might be interpreted
by some element of the public as morally reprehensible. Given what Bai
describes of Hart and the numerous downfalls of political candidates ever
since, it is even inconceivable that Lurie’s fictional nominee could win out,
even with Presidential support, over the lurid details exposed in the press.
The sad thing is that Hart most certainly might have been a better President
than his opponent and most certainly would have save numerous American lives.
Los Angeles, September 21, 2014
Reprinted from World Cinema Review (September 2014).
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