This film makes a serious effort to tackle a serious subject. How far may the electorate intrude on a public figure's private life? Michael Douglas' role of Andrew Sheppard is a modern reflection of Woodrow Wilson's nearly state-secret marriage in the latter days of his presidency. Douglas' portrayal reflects an equivalent political scene, as well. Wilson struggled with the biggest issue of his day, the League of Nations. Sheppard is seeking passage of environmental legislation. Both, confronted with the need to compromise, are in vulnerable positions. As so often with American politics, the public are led by unscrupulous politicians to overlook serious issues and target incumbents with tainted personal considerations. Wilson scandalized America with his marriage. Even later historians credited Mrs Wilson with forcing policies she favoured through an ill, weakened president.
Douglas carries his role quite suitably. He's a far cry from the austere Wilson, portraying Sheppard with a Kennedyesque panache. He amply demonstrates what a president must endure in having vital legislation adopted. The "Crime Bill" episode is reminiscent of the Kennedy brothers' efforts to curb Mafia power in the 1960s.
There is just enough of the daughter's presence to keep that issue before us, but the apparent limited age distance between her and Bening makes one wonder what this would to after the Banns are published. Douglas' initial efforts to court Bening superbly demonstrate the constraints the world's most powerful figure operates in, the florist call being one of the finer sequences. Reiner is able to balance the personal with the political. Bening's presence is more commanding than a legislative document, but her performance as a lobbyist is strong enough to keep the real issue before us. The screenplay falls just short of being truly expressive on issues. That may come, someday.
Michael J. Fox and Martin Sheen [especially the latter] turn in strong performances as presidential advisors. Sheen is vividly realistic as the long-term counsel, but Fox comes through in a climatic scene urging Sheppard to reverse an attitude. Richard Dreyfuss, however, turns in a very special performance as the petty-minded Kansas senator. Whether this is Reiner's personal assault on Bob Dole is irrelevant. Reiner deftly exposes how low American politics can sink in the hands of the uncaring. The contrast is vividly displayed in Douglas' lament over the innocent people he must destroy in exercising policy curbing terrorism. He carries it off with fine credibility. In the last analysis, this is a film worth having and re-viewing. It has a timeless quality, reflecting the feeling of hope we once had about what a human being a president could be. Perhaps it will come again. [stephen a. haines - Ottawa, Canada]