New film examines Nixon’s presidency

Ron Howard has returned to his A-game in his historical drama about two men of insatiable ambition, which is probably his best film since “Apollo 13.” Based on the stage play written by Peter Morgan, “Frost/Nixon” provides intelligent, reliable entertainment not often seen in theaters anymore.

Beginning with the Watergate scandal and Nixon’s subsequent resignation, the film focuses on the aftermath of Nixon’s presidency and the American dissatisfaction with the justice system. It is difficult to watch the movie without drawing comparisons between Nixon and President Bush since many Americans feel the same kind of dissatisfaction. However, this film is not a political one. It pits two men against each other who desperately try to prove something.

Nixon (Frank Langella) is out to vindicate himself of all wrong-doing as being justified, and David Frost (Michael Sheen) tries to refashion himself as more than a womanizing interviewer of the Bee-Gees, worthy of being on American television again. Meeting in a high-stakes interview, both men have gone all-in and neither is accustomed to losing.
For those who put wagers on Oscar results in February, this film is a must-see if only to assess the depiction of Richard Nixon by Frank Langella, who is almost guaranteed a nomination for Best-Actor this year. Both he and co-star Michael Sheen seamlessly transfer the roles they originated onstage for the screen.

Langella, at first seeming forced and caricature-like in his performance, emerges from the sleek exterior as a multi-faceted character without the judgment that usually clings to one of the most notorious presidents in our history. By the end of the film, Langella establishes Nixon as a deeply tragic man, whose pride and ambition were too consuming for him to survive successfully.

While Langella will get the recognition for this film, Sheen’s subtle embodiment of David Frost is nothing short of astounding. Throughout the film he has the ability to communicate charm and projected confidence, while keeping the anxious fear that consumes the character contained within his eyes in the milliseconds surrounding his suave ’70s smile.

Few actors can hold their own against such a strong character, but Sheen does so immaculately, showing how Frost is affected by in interactions with Nixon far deeper than massive boost he gets in his career.

Unfortunately, the smooth transition from stage to screen in the performances is not matched by the screenplay even though it was adapted by Morgan, the original playwright. Elements that are obviously there as adaptations from the stage stand out like mock-interviews from the minor characters in place of presentational exposition on stage, are distracting and lazy. Even some of the most powerful scenes in the movie would play better on stage. Overall, Morgan’s adaptation should have been more cinematic.

In his direction, Academy Award-winner, Ron Howard (“A Beautiful Mind”) once again succeeds in finding drama and suspense in a story which most of his audience will know the ending.

This film epitomizes his masterfully precise style and is a joy just to look at. While Howard does an incredibly wonderful job at putting this tale on celluloid, he takes absolutely no risks here. This film feels as though it might have been made ten years ago.

While he makes a solid motion picture, the whole two hour experience sits a little too stale for it to be as intriguing as other films this year. Seeing this film you are likely to describe it as being “really good” but promptly forget most of its content since it is so obsessively conventional. The only real attention this film will receive is for its incredible actors.