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Shaking the Tale

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Shaking the Tale Shaking the tale Wag The Dog hit close to home for U.S. audiences who watched presidential scandals hitting the newspapers just as the film was released. This intelligent and humorous movie about cover-ups and conspiracies pokes fun at everyone: government officials who take advantage of their positions, experts who take themselves too seriously and the general public who sometimes are unwilling to look behind the headlines. By Anne Taylor Eleven days before re-election, the U.S. president is accused of impropriety with a young girl. Sound familiar? He orders his presidential aide Winifred Ames (Anne Heche) to bring in top spin doctor Conrad Brean (Robert De Niro) to divert press and public attention. But what could possibly make bigger news than a sex scandal? According to Brean, it’s only that little thing that makes American hearts beat so patriotically: war. Winifred astutely points out that surely it’s not possible to declare war on some innocent country simply to save the president’s behind. And here’s the crux and what Brean’s job is all about: he believes that the public are easily deceived when the story is told well. A fictional war, in this case with the unassuming Albania, can look real if done properly. And who better to make fantasy look like reality than Hollywood? Brean decides that successful movie producer Stanley Motss (Dustin Hoffman) is the man for the job. Motss has all the right toys — special effects, digital enhancements, and the hammy songwriter (Willie Nelson) to write the anthem that will have America singing patriotically. With hardly any convincing, Motss agrees to take on the worthy project. And so, the appearance of war is created. Understandably, everyone’s talking about Wag The Dog’s prescient timing, released at the height of President Clinton’s MonicaGate, PaulaGate and WhitewaterGate scandals. And yes, the movie is funny, in an ironic way, because of that. But even if it came out 10 years earlier or later, it would still be funny and that’s down to the script and the acting. Written by David Mamet (The Postman Always Rings Twice, The Untouchables) and Hilary Henkin (Romeo Is Bleeding), the film flourishes with a witty and intelligent dialogue. De Niro is fantastic. Within minutes of his appearance on screen, you understand why this particular spin doctor has been brought in. As the film progresses, you find yourself wanting to know which scandals Brean has had to “fix” before. But because his job is about hiding truths, you cannot know his stories. Unlike many of his previous roles, De Niro is observant and rather gentle. Even a bit dowdy and slow, as though he’s willing for once to show he’s adding on some years. Hoffman creates a perfectly stereotypical Hollywood producer — excessively wealthy and pampered, always insisting that he runs the show while reminding you constantly that he never gets credit for his incredible accomplishments. And here’s the film of his career; the entire population watches and believes the fantasy Motss has created, yet he cannot tell a soul of his greatest achievement. Hoffman plays this exaggerated type of role well. Remember Tootsie and Rain Man? There’s something about his acting style that works well when the character is totally out of proportion. Then there’s Heche. Her character is required to balance between Brean and Motss, two very different types of people, and she does it efficiently, just like a presidential aide would. Some might say that Heche deserved a meatier part in this film, that she has proven her supporting talents with Volcano and Donnie Brasco. But there’s no avoiding that De Niro and Hoffman dominate the movie. She will have her moment, however for now Heche plays Winifred Ames to uptight perfection. Wag The Dog sports a number of cameo appearances that, even though you see the names in the opening credits, you’re still pleased to see them when they arrive on screen. There’s William H. Macy (Fargo, Boogie Nights), and Denis Leary (Hostile Hostages, The Matchmaker). Watch for the excellent comic performance from Woody Harrelson (Natural Born Killers, The People vs Larry Flynt). And country music singer Willie Nelson plays a really good country music singer! And not to forget the man who directed the great cast and action: Barry Levinson. The sheer fact that he did this film in 29 days and it’s still good tells you he’s got talent. But if you weren’t sure, how about this list of his credits: Diner, Rain Man, Bugsy, Good Morning Vietnam, Sleepers, and recently, Sphere. Is that what you’re wearing? Did you ever wonder why an Academy Award category was created for costumes? If you did, this film explains it effectively, if not exaggerating the point. With a comic and over-the-top premise, the outfits reflect not only the nature of the characters wearing them, but contribute to the farcical and hyperbolic sense of the film. Conrad Brean, as the highly intelligent but secretive spin doctor, looks like a semi-retired farm veterinarian or a college professor. He’s always wearing tweed jackets, nerdy bow ties and a soft hat — very far removed from what you would imagine of a genius loaded with top government secrets. Winifred Ames sports perky business suits with splashes of colour. Her hair is bluntly cropped with a neat tiny fringe. A fashion analyst might say she relies too heavily on the working-woman line of clothes and maybe takes her job too seriously. The first time you see Harrelson’s character, it’s just a photograph of him in Army-issue camouflage, posed as a proud soldier. Next, he stands tall in full prison garb with a sickly-funny grin on his face, forcing you to notice the enormous gaps between his teeth. Hoffman gets the best costumes for his role. From the silly bouffant hairstyle to the over-sized spectacles, Motss has an outfit for every occasion: tennis gear while he’s playing a game or two at his mansion; silk robes for when he’s just come off of the sunbed; and perfectly-trimmed suits for state funerals. The outfits go beyond the excessive image we already have of a Hollywood producer. .
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