Bulworth (1998)

I can remember my teenage movie-going and the stars that shone the brightest. Clint Eastwood could always be counted on for a good two hours. Jack Nicholson won Best Actor for 1975 as Randal Patrick McMurphy in "One Flew Over the Cuckoo's Nest," a film that aroused my young hate of injustice. Warren Beatty (along with Julie Christie) was cool in "Heaven Can Wait."

The fact that all of these professionals are not only still working, in late-middle-age, but winning awards and nominations (Eastwood's Oscar for "Unforgiven," Nicholson's for "As Good As It Gets," Christie's nod for "Afterglow," Beatty's statuette for "Bugsy") says a lot.

Mostly it tells of the importance of social issues in movies. Beatty especially has been taking jabs at human foibles for a long time. I wasn't a teen any longer when "Reds" was released; I was an English major who appreciated the rendering of journalist Jack Reed (and the featuring of Eugene O'Neill!), and who admired, with heady idealism, the importance of historical drama.

In "Bulworth," Beatty's attempts at satire are broad. His targets, his methods, his humor - all are as broad as the mouth of the caricature of Beatty used to advertise the film.

Jay Bilington Bulworth, Democratic senator from California, is a cliché of a politician. Estranged wife. Businessmen buying his interests. At film's start we see him locked in his office, depression bearing down hard on him, surrounded by photographs from his career (one with Beatty from his "Shampoo" days is superimposed in a shot with Bobby Kennedy). What Bulworth does to emerge from the jaded funk is even more cliched - he commissions a hit on himself.

The bigger chunks of the film are more original, though. Of course the self-ordered murder motif surfaces throughout, but Beatty's handling of the falling and rising of Jay Bulworth makes for superior satire.

Beatty supposedly had full creative control - no studio honchos lurking on the set. This advantage seems to have made all the difference. Not many groups escape Bulworth's desperate, liberated tongue. Rushing through Los Angeles on a bid for re-election, he alienates African-Americans, Jews, the entire insurance industry. But it's refreshing, and as one might guess, his candor wins him votes.

Venturing into the world of three young African American women, Bulworth risks all respectability. Here Beatty succeeds: he has Bulworth go back to his political boyhood tricks, reading people's backgrounds and delivering on their wishes. Bulworth's knack for picking up on black slang and, Zelig-like, using it for his own survival, serves as one of the film's funnier running jokes. It was also chancy for Beatty to explore the underworld of rap, once again assuming the language and even the dress of a "homie." The result is a brilliant rendition of the contrasts of Americans who are black and white.

Halle Berry turns in a solid performance as Nina, one of the women the couldn't-care-less senator invites into his stretch limo. Berry almost underplays her character, a nice counterpoint to some of the conventional histrionics portrayed by other African American actresses. I wonder if Beatty will garner more controversy for his interracial relationship in the film, or for his winning a much younger woman. (Didn't Nicholson raise hackles when he won Helen Hunt in "As Good"?)

As Bulworth's chief of staff, Dennis Murphy (Oliver Platt) provides a good foil. Not in the evil sense, but in the politically advisable one. He is appalled when Bulworth self-destructs; yet he rallies and compensates hilariously. Platt delivers a biting send-up of behind-the-scenes hyposcrisy when, railing against his boss's tendencies, he snorts cocaine with another toady.

Can an actor direct the subtleties of his own performance as well as he can the performances of others? Mostly, Beatty's instincts take over and enable him to create a convincing character. Occasionally, however, Bulworth seems too silent, his eyes hooded in confusion. Granted, the man has neither eaten nor slept in three days, and he throws back a large dose of jetliner liquor; but even at his physical worst, Bulworth should be played as exhausted, not empty-headed.

Lately Americans have been treated to "Wag the Dog" and "Primary Colors," films as well-made and funny as "Being There," which I saw with my dad when I was in high school. "Bulworth" reminds us of the necessity to hate injustice and inequality, as well as to embrace tolerance. In short, it reminds us of the important role of satire.

Questions useful in Film Literature units:

1 Describe the relationship between Bulworth and his wife. What does this suggest about the personal lives of politicians?
2 Warren Beatty had full creative freedom in making "Bulworth." How is this evident?
3 What statement does the film make about government? About big business?
4 What is the main source of humor in the film? Give examples.
5 Where does Bulworth get his best ideas?
6 Analyze the ironies in the film. Which events are the most unexpected?
7 What qualities does Oliver Platt bring to the character of Dennis Murphy, Bulworth's chief of staff?
8 How does Halle Berry portray Nina as a complex character?
9 What is meant by the line, "You got to be a spirit, not a ghost"?
10 What is the place of political satires in the film world? Name other satires and compare their messages to "Bulworth's"
11 How is editing used to suggest the fast pace of political campaigning? Name other examples of clever editing.
12 List main themes suggested by "Bulworth."
13 What are some radical solutions suggested by Jay Bulworth? Would they work?
14 How is the insurance industry indicted in the film?
15 Rate Warren Beatty's performance. Support your opinions by mentioning specific scenes and nuances.

Warren Beatty's tribute to 60's ideals and slam at 90's realities is on the nail! Politicians are selling us out to the special interests; look at the campaign finance reform efforts. Insurance companies are ruining our medical care system. And not only is socialism a dirty word, it has disappeared from our vocabulary. Ordinary American citizens - not just blacks as in the movie - have been lulled into materialism, consumerism, and paying lip service to phoney family values. In spite of its heavy message the movie is clever, funny, and fast moving. It's funnier and angrier than the last good political satire, Bob Roberts. Lack of special effects and lots of use of the F word almost assures that it won't make much money - all this movie has going for it is sharp writing and acting.I was puzzled by one detail - where did Beatty find an apartment with a garage large enough to fit a stretch limo?

In order to review a political movie you must be familiar with it's feilds. For instance, when you think of a political movie you may ponder about primary colors and wag the dog. Warren Beatty's Bullworth is the farthest thing from a sex scandel, it is almost like watching a rap video. Just the view of Beatty in those baggy grunge clothes will make you want to regeritate your lunch. Senator Bullworth is feeling a little depressed, a little suicidal, but has too much pride to carry out those acts himself. So he does the next reasonable thing (he hires a hit man to do it for him). Now since he knows that death will be arriving soon he decides to tell the truth about politics, only in rap language, at first it is considered an outrage but after a while the press begin to get immuned to this whole new act and find it hip. The problem is Bullworth is also starting to come around and is hit hard by the morality of life and begins to have second thoughts about turning into a cadaver. In order for Bullworth to see he needs a motive, something to keep him alive, that something is local hood resident Halley Barry.

Some people might take offense on the racist jokes depicting just about all races, but people who can handle those kind of remarks which are intended as jokes, run off to your local cinema and see Warren Beatty at his best

GARDE: B+

FINALLY! A comedy that lives up to its trailer! This is easily the funniest movie of the year in a year packed with great comedies (i.e. Out of Sight, Lethal Weapon 4, even Armageddon was hilarious at times). Perhaps the filmakkers realized that, with the exceptions of AUSTIN POWERS and AS GOOD AS IT GETS, they had to make up for 1997, a dreadful year for comedies. But I digress.

Of course, this film will only make sense to someone who follows politics. As Senator Jay Bullworth, Warren Beatty does a fantastic transition from your average, tell-the-people-what-they-want-to-hear politician to an offensive, vulgar, yet surprisingly truthful rappin' preacher/philosopher. His wild antics serve as a hilarious platform for slamming both political parties equally. By the end, Beatty has made a complete vocabulary transition to such phrases as "knappy dugout" (my personal fave) and a plethora of other gangsta terms. This is where the movie truly sparkles; just letting Beatty's behavior control the film. Of course, liquor and marajuana both affect his behavior as well. At the same time, tension mounts as Bulworth attempt to call off an assassination attempt on himself.

Beatty truly won me over in this film and certainly delivers one of the greatest comedic performances that I've ever seen. Oliver Platte and Halle Berry also are exceptional.
(**** out of *****)

\"Bulworth\" is a political satire but a presidential candidate played by Warren Beatty, who make such crazy statement, that the see hiom in a different light. Halle Berry is very sexy as Beatty\'s love intrest. Beatty\'s been around since \"Splender in the Grass\" in 1961 has been making film history since then. \"Bulworth\" is no exception.