W

Oliver Stone’s W paints a vivid picture of a complex and vulnerable man who, through nothing short of a miracle, came to be the “leader of the free world.” By screenwriter Stanley Weiser, W employs flashbacks through a narrative of Bush’s years in the oval office to directly assault Bush and his administration, portraying the entire cabinet as nothing more than an incompetent and vindictive clusterfuck of egos.

Opening with a surprisingly casual cabinet meeting in which the catchy “axis of evil” tagline is conceived, Stone immediately goes for the jugular. The tremendous conviction with which the Bush cronies speak only highlights their ineptitude and delusion. As in several of his previous films, Stone uses flashbacks and dream sequences to illuminate Bush’s life, from unrealistically pretentious hazing events at Yale to sobering images of Iraq. These scenes account for George’s formative years, be it the humor of squatting in a bathtub full of ice with frat boys aggressively funneling Jack Daniels down his throat or the drama of quitting one of the many mundane jobs that his father forces him into. We come away with a conception of the young Bush as nothing more than an inarticulate and over-privileged boy with a chip on his shoulder. He remains equally incoherent even as his political career takes off: I winced during a scene in which Bush - now in office - offers his father sage advice on the Gulf War, stuttering, “Don’t think about it too much cause it screws ya up.” By emphasizing anecdotes that reflect Bush’s utter stupidity, Stone captures the character’s transition from small time troublemaker to “high functioning moron” responsible for the sad state of America today.

Josh Brolin bears an uncanny resemblance to Bush and has the ability to convincingly portray Bush as a coarse and masculine figure, full of bravado and a host of underlying insecurities. Elizabeth Banks does a superb job as Laura Bush, the sole source of stability for the embattled protagonist. The most revealing relationship Stone investigates is between the resilient but reluctant Bush Sr., played by a powerful James Cromwell, and Junior. Through emotionally charged scenes, including several where Brolin’s character is tormented by his lack of fatherly approval – “You disappoint me Junior, you disappoint me deeply,” echoing in his head – Stone furthers a notion of Bush’s internal conflicts.

Not only because the film was rushed into production with hopes of influencing the upcoming election, but also because Bush remains in office, the movie feels eerily incomplete and premature. The soundtrack features dramatic songs played at ironic times: instances of country twang disrupt moments of reflection and rock allegories like Bob Dylan’s “Good on Our Side” loom over the ending credits. With these intended oddities, Stone succeeds in dissecting our severely flawed president and providing insight into the mind, or lack thereof, of such a conflicted and controversial figure. Disregarding speculation over the film’s accuracy and fabrication, Wcomes with both tragic and comedic flare, making its point convincingly with distinct style and humor. [AHLA]