A Belgian friend, the late Michel Apers, admired American films above all others. One of the reasons, he explained, was that our films analyzed our political system with uncommon clarity. No other national cinema, he claimed, focused so insistently
on the mechanisms and purposes of government, on the duties of citizenship, and on the dilemmas of public life. Not wanting to seem too chauvinistic, I said that we often failed to fulfill our nation’s ideals. “Of course,” he said. “But
at least you have ideals. And your films show that it is not easy to live up to them.”
Michel’s remarks reminded me that we do have a tradition of politically critical films: 1930s films opposing lynching and hate groups, 1940s films about
political corruption, still later movies like Twelve Angry Men and The Best Man and The Manchurian Candidate. Directors who contributed to this tradition include John Ford (Young Mr. Lincoln, The Last Hurrah), Otto Preminger (Advise and Consent especially),
and Alan J. Pakula (All the President’s Men, The Parallax View, Rollover, The Pelican Brief).
Rod Lurie’s favorite film is All the President’s Men, which ought to tell you where his heart is. He made The Contender (2000), a subtle drama
about a woman nominated for Vice-President. It has the trappings of a political thriller (the conspiracy at its heart echoes Chappaquiddock, as well as Blow-Out), but that’s just the bait for its serious questions. Graced by a warm but steely performance
by Joan Allen, The Contender asks whether a woman in politics is held to a higher standard of sexual conduct than a man would be.
I thought of Michel Apers’ remarks when I watched Lurie’s Nothing But the Truth (2008) at this year’s Ebertfest.
The plot revolves around a reporter, Rachel Armstrong (Kate Beckinsale), who outs covert CIA agent Eric van Doren (Vera Farmiga, her of the admirably crooked smile). Rachel refuses to divulge her source and goes to jail. Again, there’s a mystery to draw
us through the plot: Who is the source? But more important is the problem of whether a reporter should be forced to name sources in a case that breaches national security. It’s the sort of issue that Preminger or Pakula would have loved to tackle.