‘Frost/Nixon’: Talking Heads at Their Best
- Director: Ron Howard
- Running Time: 122 Minutes
- Rated: R
For: Debate and ‘David vs. Goliath’ narrative enthusiasts
Not For: Documentary/Thriller genre fans
Debates and interviews are some of the media’s biggest headaches in broadcasting. How in the world does someone make two talking heads engaging? However, some discussions live on in history either because the content was so engaging or the aftereffects so mesmerizing. Frost/Nixon recollects the powerful interviews, headed by David Frost, of Richard Nixon: a David versus Goliath story and a duel of wits and nerves. Sprinkled throughout the plot are some strange inclusions such as a documentary-like footage that clashes with the exaggerated presentation to a lightheartedness that takes away from the gravity of the situations. However, Frost/Nixon is a well-presented battle of words that is exciting to watch and a reminder of the power of the presidency and the power of diction.
David Frost (Michael Sheen), the protagonist of Frost/Nixon, is a laid-back British talk-show host who has made it big in Britain and Australia with a variety of televisions shows. His next venture is to make it big in the US. Concurrently, Richard Nixon (Frank Langella) has resigned the presidency after the Watergate scandal and was fully pardoned by Gerald Ford. The American people demanded a confession and since the courts could not do so, they looked to the media. Frost looked to interview Nixon as his big break while Nixon, thinking this being a simple way out with a lot of money behind it, took on Frost’s offer. Both with a team of experts and a lot at stake whether in their finances or their credibility, they take on each other in a series of four interviews.
What drags the film down incidentally is its documentary-like interjections and nimble pacing. Opening the film is a combination of actual, past footage of Nixon leaving the White House and Langella acting as Nixon in these scenes. This works for the film, establishing the time of when the narrative begins and getting the audience accustomed to this particular Nixon. However, soon after, characters from the movie start to appear in blue-tinted, documentary sections as they describe certain situations. Unfortunately, most of these scenes do not juxtapose well at all with the main narrative, which is a very typical loser to winner scenario. These styles clash constantly such as a scene in which Frost is feeling nervous interviewing Nixon followed by a documentary scene, stating that Frost is nervous and that this felt like a boxing match. It felt redundant and unnecessary as the main narrative was doing a fine job in showing audiences what was happening. There is, however, one scene that does justify the use near the conclusion of the film that is brilliantly played out, analyzing a particular moment in the final interview with some great insight. Perhaps fewer and more fresh and analytical documentary scenes would have made these scenes more sensible.
The other hard-biting fact is the pacing along with some problems with the overall tone. Frost/Nixon flies by too quickly and does not care to linger on some of the more intriguing sections such as the actual interviews. Although Howard chose to do this to keep the tension climbing to the final climax, the movie feels too abrupt and the audience never gets a feel that Frost is losing a discussion or why Caroline (Rebecca Hall) is still following the crew around. For a film that includes a documentary-style presentation for some of its scenes, it is odd that it lacks details for many moments. The final sequences of the film does feel well paced but it should not have had to come at the expense of the first three fourths of the film. Additionally, there are some smaller problems with the overall tonality that seems to have trouble in completely changing from a light-hearted to a darker tone when necessary. Although there are areas of gray within the characters themselves, the film is a bit too clear-cut in who is potentially good and evil and does not completely explore the finer middle area.
Still, the whole product works in delivering an engaging historical and political drama. Two clear-cut reasons why the film is so appealing are Sheen and Langella, not only the original actors from the play but well put on the big screen. Their scenes and confrontations, whether direct or indirect, are not only fun with their back-and-forth banter but also charming. Sheen’s Frost is played well as a man that grows bolder and confident with a British charm and swagger. Langella’s Nixon may at first seem un-Nixon in many ways, from a lack of resemblance with their faces and Langella’s rougher voice, yet as the film moves forward, the character grows on the audience as a wonderful interpretation of a tortured man who loves a good fight. Jokes and petty banter do not seem out-of-place and in character, and both the interviews and a special confrontation on the phone are the most memorable scenes within the entire film. The supporting cast is not as strong as the two main performers but come off with doable performances that are meant to build up the two personas.
The production also needs to be commended. The editing is well paced to build up to a climactic showdown between the two big heads and never lets up until the final statement is read. The payoff is very pleasant and smart cuts are to notice for it. Just when perhaps a discussion might be dragged out, the film cuts to a new scene or a different viewpoint. Again, the tempo may be too quick but does work to the film’s benefit. Additionally, there is a lot of clever cinematography at work that distinguishes a lot of the analogies and symbolism presented. The camera moves from televisions shots to close-ups to shaky cam all without much notice and contributes in adding to an engaging discussion. One moment, the camera may be staring at Nixon in the television screen in the next room and subtly, the camera moves to the actual interview. Perspectives become very important attributes along with such symbolic motifs as the boxing match, all well presented. To note, the choices in symbolism may make the film more exaggerated but creates an engaging and original work off of what may have become a much more tedious affair. They are clear-cut while still being profound at the same time.
Frost/Nixon successfully transplants what could have been a tedious back-and-forth conversation into a tight-knit, over-the-top, duel between two big personalities. Some quirks are peppered throughout such as odd documentary-style interjections, lack of much exposition and detail, and a light atmosphere that does not always transition well to the darker moments. These are minimal, however, compared to the engaging acting, especially from Langella who plays off Sheen perfectly, clever production and post-production choices, from the fast-paced editing to the clever cinematography, and the analogies and symbolism that Howard was able to inject into the plot such as the boxing match-like interviews. The film is one of Howard’s best works and a resonating reminder of the power of media, even in the present day, against political corruption and public response.
The Wie muses **** out of *****
Ratings:
*****: Excellent
**** to ****½: Great
*** to ***½: Good
** to **½: Mediocre
* to *½: Bad
0 to ½: Terrible
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