This week, for our inaugural Political Theater conversation, Atlantic staffers and I watched your most-requested movie: The Candidate, the 1972 dark comedy starring Robert Redford. And many of us left our screening … a little confused, actually! We had gone into the movie expecting it to be, as it been described, a “satirical comedy-drama”; I’d been imagining it, basically, as The Ides of March but with wider lapels.
The consensus among our watching party, though, seemed to be that it was difficult to tell how, exactly, the movie was working as satire. Was the crux of the argument that Redford’s character—Bill McKay—was selected to run for Senate almost entirely because of his good looks and, secondarily, nepotism? Was it that he had, in the end, sold out his ideals simply to gain political power? Was it the broader, more tragic notion of how powerless the individual person can be against the lurching machinery of party politics?
Those are all part of the story, definitely—and you could make a good case for each. For me, though, none of them came through terribly strongly, as messages or takeaways or, yep, evidence of satire. McKay, after all, wasn’t that great of a guy at the beginning; for my money, he didn’t turn into that bad of a guy by the end. He sold out, a little, definitely … not that much? And all that in addition to the fact—and this was my greatest source of confusion—that none of the stakes in this election ever seemed that high.
And maybe, you could say, that is the crux of The Candidate’s satire! Here, after all, are politicians asking for power over major and sometimes life-and-death issues in people’s lives (in this case, school busing, women’s reproductive rights, crime, the environment, etc.); and here are those politicians, at the same time, blissfully—cynically—able to treat those things merely as “issues.” Maybe the point here is the ironic privilege of the politician. If so, of course, that would make The Candidate, as many of you pointed out in nominating the movie for discussion in the first place, urgently relevant today. But I didn’t come away, actually, thinking that the people/politician disconnect was the obvious point of the movie. It was too subtle for that. Possibly too nuanced.
So I guess my main question coming out of The Candidate—one I hope you’ll weigh in on—is: Have movies changed, or have people’s perceptions of politics?