Primary Colors

Starring John Travolta, Emma Thompson, Adrian Lester and Kathy Bates

Once every few years, there comes a film with miraculous precision in hitting the proverbial nail on the head; one that raises the ever-present question of whether art imitates life or conversely life imitates art. If audiences thought that Wag The Dog seemed a bit familiar, then Primary Colors, with all of its noticeable Clintonisms, should give them a jolt like they’ve never seen.

The film begins with Governor Jack Stanton (John Travolta), and his wife Susan Stanton (Emma Thompson), on the battleground with the intent on winning the New Hampshire primaries in order to catapult into the office of the Presidency. Debate after debate ensues, and Governor Stanton wins with ease. However, being the scatterbrained individual that he is, his goal demands the work of a campaign manager, one who is level-headed enough to keep the Governor on track. Who fills this position? None other than Henry Burton, played by relative newcomer Adrian Lester, the politically correct choice, as he is African-American. In addition to Burton, an entire team is picked to help achieve the Governor’s goals. Libby Holden, played by Kathy Bates, becomes the crisis/scandal deflector, known in the film as the "dustbuster." Daisy Green (Maura Tierney), acts as the Governor’s media consultant. Last, but not least, is Richard Jemmons, played by Billy Bob Thornton, the Governor keen political strategist with the eyes of a watchdog. The film depicts their teamwork in getting the Governor to become the President of the United States.

The film is actually introduced as a comedy - an offbeat depiction of what goes on behind the closed doors of a campaign. With its quirkiness still residing within the boundaries of normality, the comedy still manages to retain dignity in spite of the topic at hand. However, once Jack Stanton becomes a heavyweight candidate, the film takes a more serious turn. Governor Stanton and his crew must soon deal with scandals leaking from every crack, along with difficult moral decisions that come into play. When mudslinging becomes a political asset to one party, it becomes fair game and develops into a weapon for the other side as well.

First up is a alleged affair with a hair-dresser, which is quickly shot down by the proud campaign team because of its unfeasibility. Next comes the alleged baby the Governor has fathered with an underage black girl. The deeper the dig the more serious and truthful the allegations become. Nobody is safe as the dirt flies in every direction. The film soon clarifies its focus; is the Governor "the real thing?" While answering this question the movie poses a much broader one: what matters more, the man, or what he believes in?

Primary Colors is superb at taking viewers into a world they have never really seen - the backdrop of an election. It does so with candor and grace. Elaine May’s script was full to the brim with juicy monologues for the characters, and Mike Nichols’ direction should be applauded in what is always labeled as a touchy subject, the comedy-drama. In this case, he is somehow able to balance the two as successfully as he has done in the past (The Graduate, Working Girl, and Silkwood).

The film is also a phenomenal showpiece of acting. John Travolta, though not performing up to his full potential, clearly does have what is undoubtedly his perfect role; his note for note imitation of President Clinton is jaw-dropping. He manages to display the mannerisms, the look, and the smooth talking that Clinton is associated with in such a way, that one may wonder which is the real McCoy. Emma Thompson, pulls off a fine performance as Susan Stanton, yet is overshadowed by Travolta. However, the real gems here are the supporting cast. Adrian Lester and Kathy Bates steal the screen at every moment they get to speak their mind. It seems appropriate to see the movie through Lester's eyes, as he is the only voice of reason. His persona balances what would be an otherwise eccentric film of oddball characters (though normal with respect to the real world). Kathy Bates also gives what is one of the finest performances of her career, gleefully reminiscent of her outlandishness in Misery. My only reservation was the accuracy of Clinton’s portrayal. Governor Stanton is written in simply as a smooth-talking, quick-witted philanderer, but not as smart. Though he may win the heart of the people, the film portrays him as merely a boy who makes other people clean up after his messes, while they applaud his victories. I wonder how true that is.

That aside, the film is a true success.