Shadows on the Wall | The Apprentice

The Apprentice

dir Ali Abbasi
scr Gabriel Sherman
prd Ali Abbasi, Daniel Bekerman, Julianne Forde, Jacob Jarek, Louis Tisne, Ruth Treacy
with Sebastian Stan, Jeremy Strong, Maria Bakalova, Martin Donovan, Catherine McNally, Charlie Carrick, Ben Sullivan, Mark Rendall, Joe Pingue, Jim Monaco, Bruce Beaton, Ian D Clark
release US 11.Oct.24,
UK 18.Oct.24
24/Canada 2h02

CANNES FILM FEST

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Extremely well-made, this biopic offers scant insight as it depicts the rise of Donald Trump through the mentorship of Roy Cohn. Still, director Ali Abbasi never takes a cheap shot, keeping scenes gritty and urgent, while actors add layers of interest. This makes the drama riveting, especially as it focusses on a range of key relationships. But there's very little resonance, aside from a chill down the spine.

In the mid-1970s, Donald (Stan) is working for his father Fred (Donovan) developing properties in New York. Sued by the feds, Donald hires the notorious McCarthy-era lawyer Roy (Strong), who takes him under his wing. Donald quickly begins adhering to Roy's three unbreakable rules: always attack, deny everything and never admit defeat. And using Roy's contacts, Donald begins bluffing his way into major developments in Manhattan, including Trump Tower, while courting Czech model Ivana (Bakalova). He also dodges anyone to whom he might owe money, creating a starry image of himself that he truly believes.

Nothing is revealed here that we haven't witnessed in real life. Telling details cleverly recreate the period alongside archival footage, so the settings are eerily authentic, as is the terrific ensemble casting. At the centre is the darkly intriguing bond between Donald and Roy, strong-willed men who are simply unable to see the irony in their hard-line views, which ripple with racism, misogyny and homophobia. So it's unsurprising that this hatred infuses their interaction with each other.

Stan throws himself into the role with remarkable nuance, offering both internalised textures and full-bodied expression. His take on Donald is never sympathetic, largely due to the complete lack of ethics or loyalty, but we can almost understand some of his outbursts. By contrast, Strong's Roy is contained and menacing, far too powerful for a man with his past, but also not deserving of his ignoble end, even if he brought it on himself. Bakalova also registers strongly, especially when Ivana finally snaps.

Because Roy and Donald reject truth, opting to define it for themselves, they are at odds with everyone outside their cultish followers. Naturally, they refuse to admit this, claiming they're doing it for the nation they love so dearly, although it's obvious that they loathe the American people. What they love is the chance to make lots of money without pesky regulations that protect the public. So the film basically becomes a terrifying depiction of unfettered greed and egoism. Perhaps that's the true American dream, and it's destined for a fall.

themes, language, violence, sexuality 18.Oct.24

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