THE IDES OF MARCH

BY CHRISTOPHER HASKELL
JANUARY 22, 2012

Talk to me about primaries, polls, and politics, and I will respond to you with a blank stare. However, divulge that Senators are making backhanded deals, Governors are exploiting their power, and journalists are blackmailing affiliates, and I will engage in the conversation. “The Ides Of March” does just that and is one of the most engaging dramas I feel I have seen in quite some time.

The film’s marketing poised it as a dramatic thriller, and the thrills come entirely from human interaction rather than an element of urgency. Though we worry that George Clooney’s character Mike Morris won’t win the Ohio primary for president, we are never under duress. Instead, we get to know these characters, and as it goes with politicians, we slowly become aware that we cannot trust most of them.

Ryan Gosling is brilliant in his role as Stephen Meyers, the Junior Campaign Manager for Mike Morris. He fits the part perfectly, as you buy the rising young gun that every other character says he is (if Clooney, Hoffman, and Giamatti say it, it must be true). When he makes a poor decision to meet with Tom Duffy (Paul Giamatti), the opposing Campaign Manager, the substantial ideals that Meyers holds dear begin to slip through his fingers.

George Clooney commands attention in his brief but significant role (having been in the director’s chair for most of the film). The casting of himself as the Democratic presidential candidate is almost too perfect, with Clooney’s winning smile overshadowing any discrepancies he may have (making it easy for the well-written twists and turns to sink in even more profound).

Evan Rachel Wood is also fierce in her role, and her performance completely blows you away, delivering a performance that few other actresses could touch. There is no small role in the film, and each actor/actress brings something unique and enthralling to the plot.

The writing is along the lines of “The Social Network” and award-worthy in its own right, which is apparent in selling a political-based drama to a viewer who has zero sense of the world of politics. Lately, screenplay writers, in general, have been impressing me with their ability to pen tremendous and thought-provoking endings, and “The Ides of March” is a perfect example of that crescendo to an end. Also, add Alexandre Desplat’s (who has had a fantastic year) traditional marching droll, turning to a “gallows march” drumroll towards the film’s finale, and you have an ending that positively hits the nail on the head.

At its base, the film has a perfect ensemble cast, professional quality writing, and a hint of mystery and misdirection in the film’s campaign. Add to that Ryan Gosling, who has become an all-time favorite of mine through this year alone, and you have a politically fueled drama in “The Ides of March” that is hard not to love.