YoThis is not a serious villain story. But not the Iranian-Danish director Ali Abbasi Coach By any means, a flattering representation of its subject, the young(ish) Donald Trump (a terribly convincing Sebastian Stan). Following Trump's initial journey, “Little Tony” is the second child of a father who jokes that his son “needs all the help he can get.” But, as the film suggests, young Donald finds a second father figure in the feared and well-connected right-wing lawyer Roy Cohn.successor (Star Jeremy Strong brings his trademark unflinching intensity to the performance, to chilling effect.) The lessons learned from his mentor – cheating, bluster, vanity and the need to win at any cost – shaped the Trump we know today.
It would have been easy to turn Trump into a monster or a funny caricature of Abbasi, who previously made the Iranian film about the serial killer. Holy SpiderHe's not known for his subtlety, but this is surprising and a little disappointing. Coach All is not well with the grotesque and extreme aspects of Trumpian evolution. But it shows a side of the former American president that, one suspects, he prefers not to see. This Trump is an unexpectedly fragile and malleable person; An impressionable man, he mistakes intimidation for force and sees authority as a weapon. It's no surprise that Trump was outraged by this description. His lawyers sent an unsuccessful cease-and-desist letter to producers after it premiered at Cannes in May, and last week called Trump's film a “political smear” on social media. While a little more savagery may have satisfied some segment of the audience, Donald himself is a frothy, impotent rage that suggests he must have done something right.
The action begins in war-torn New York in the 1970s. Young Donald is a hungry and ambitious little player on the big stage. He plans to take over a dilapidated hotel in the ruined no man's land of midtown Manhattan. But so far, his father, Fred Trump (Martin Donovan), has rejected his son's vision, preferring to use Donald's talents as a famous rent collector for the Trump Village housing complex in Coney Island. Abbasi captures the character of the city with many grainy shots of burning debris and broken windows. There's a nervous, amphetamine-like tension to the camera work, as if you almost expect the person behind the lens to be fat or stabbed.
Isolated by his father's name, Donald is unfazed by the dynamism of his city and wants to be an important part of its golden-eyed future. To this end, he invites the rich and famous to a Manhattan club (“They say he's the youngest person admitted,” he boasts to a bored blonde), hoping to absorb their influence by osmosis. He catches the cold, shark-eyed gaze of Cohn, who invites him into an inner circle inhabited by the big, distant good: grinning mob bigwigs, political power brokers, and Rupert Murdoch.
With his inimitable way of untangling the tangled legal entanglements of the Trump administration, Cohn is turning the young Donald into a winner. He recites his three rules for success. Number 1: Attack, attack, attack. Number 2: Admit anything, deny everything. Number 3: Always claim victory, never admit defeat. Tony watches him like a newborn chick clinging to its mother; He completely absorbs Gon's wisdom and transforms it into a personality. and with a All about Eva-The style is inevitable, the guardian usurps the guide and a force is unleashed.
Of the main characters, Trump is the least interesting – or the most underdeveloped. Instead, his first wife, Ivana (Maria Pagalovapramatham), knows exactly who he is. Abbasi introduces her to Bakara's disco track Yes Sir, I Can Boogie, which is a bit misleading: Ivana is an aspiring entrepreneur with city-wide ambitions. YOU UNDERSTAND THAT ANY POCKETS WILL BE MADE ON YOUR OWN TERMS. She never addressed any man as “Sir.”
Strong's portrayal of the slippery Cohn, a man full of sharp edges and wide, swinging contradictions, is particularly interesting. He was a closeted homosexual who relentlessly persecuted homosexuals when he worked with Senator Joseph McCarthy. When he talks about his love for America, he is portrayed as someone who hides his emotions, but hates much of the American population. And, the film maintains, Cohn's far-reaching and devastating influence on the country he claimed to serve is all too evident today, nearly 40 years after his death.
Source link
