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John F. Kennedy might have become the show horse with the eyesight, but Lyndon Baines Johnson was the work horse who set his game-changing thoughts, especially the Civil Rights Act, into law, according to Rob Reiner's intriguing but, alas, conventionally staged LBJ. The interest is in the performances, and though Woody Harrelson looks painfully unlike the 36th president despite a lot of makeup, facial prosthetics and a toupee, his lush, foul-mouthed portrait of the powerhouse fighter would be the film's most important strength. Ribald and vivid, he paints Johnson by a skilled behind-the-scenes manipulator out of necessity and inclination and conviction as an idealist. Its second is for the politically inclined.
In what is evidently LBJ's year, this will be the look at the president from Texas to emerge in four months. It follows on the heels of HBO's multi-Emmy-nominated TV movie All the Way, according to Robert Schenkkan's Broadway play, which put Johnson look-alike Bryan Cranston in the Oval Office on both stage and screen. Comparisons are inevitable have many points in common, not least their portrait of a person who felt himself to be a president that is profoundly disliked.
However, the presidency of Johnson, that began on the awful note of JFK's assassination in 1963 and finished with his frustrated decision not to run in the 1968 elections, is not the subject of LBJ. In fact, his crowning achievement, the program against poverty referred to as the Great Society which comprised his escalation of the Vietnam War, in addition to Medicaid, Medicare and Head Start, are mentioned prior to the end titles.
Rather, Joey Hartstone's screenplay zeroes in on his years as the vice president of JFK, high-contrasting styles, their ambitions and personalities. Given the appeal of whatever Kennedy, it is a springboard to jump out of, and distinguishes the movie at bringing these epic figures. One just wishes it wasn't dramatized literally. The slow-moving Dallas motorcade, that turning point in history, interrupts the story again and again to remind us that Kennedy is currently coming his destiny, and Johnson his. This obvious framing device, coupled with choices that were throw-away cast a telefilm pall in which a few innovation would have been most appreciated.
Alert into Bobby Kennedy fans: Together with Johnson's rehab as a straight-shooting, get-it-done man with a mission, and JFK's positive holding pattern, comes a severe take-down of RFK, who's given almost shocking viciousness and immaturity by actor Michael Stahl-David, echoing the ruling put forth in Raoul Peck's TIFF-bowing documentary I Am Not Your Negro. And he is not the only victim. Scrutinized through Johnson eyes, a host of names such as Ralph Yarborough and powerful senators Richard Russell liberal VP Hubert Humphrey, and his cagey flit from background.
LBJ is an extremely powerful man and the Senate majority leader, as the story opens. He knows every congressman inside outside and contains what is needed to reach his political goals: "endless compromise." Opposed to racial segregation such as the Northern Dems, he's their linchpin the Dixiecrats in the South, with all the Southern caucus, who see him as one of their own. His fluency in both languages is the reason John Kennedy selects him as his running mate within the prissy objections of his brother Bobby and his clique. Donovan's Jack Kennedy has a familiar calm, hypnotic presence and a knockout Boston drawl that places at least four vowels from the word "great". He makes up his own head and measures his addresseven though it means going from members of his loved ones, who clearly have a good deal of input in running the nation. But as Lady Bird reminds her husband, Kennedy is a man of thoughts and the respect of the viewer is earned by him, though his connections with the outspoken Johnson are formal at best.
After helping his party win the election by a contentious squeak, Johnson finds himself isolated from conclusion by the "Harvard boys." He's allowed no extent as he intended to enable the role of the vice president, and it dawns on him that RFK has been positioned to follow in his brother's footsteps, while he's politically defanged. It is sad to watch him on the defensive, stripped of sarcasm and his barbed humor. All he could do is vent his frustration because of his sensible and strong spouse in perfectly calibrated scenes without sentimentalizing them that humanize the bunch. Harrelson is entertaining in his judgments and disgusting analogies, delivered within his Texas accent that is mighty. He and Reiner push non-P.C. liberty of speech a lot farther than All of the Way in strikingly similar scenes. Consider the tailor that is hilarious scene, in while he shoots off orders into his aides, at the exact same time.
The other moment has him seated on the throne with the bathroom door flung open, haranguing his circle while he unselfconsciously employs the toilet paper. His outer flamboyance corresponds to internal bitterness about his popularity with the general public: "Why don't they like me?" He wonders for Lady Bird. This is the man who said, "Politics is not like war, it's warfare" and "You can not make use of fine at a knife fight."
The motorcade reaches its date LBJ has reached a political nadir. Then Kennedy is dead and Johnson is sworn in on Air Force One beside Jackie and catapulted to the White House. He is stunned by events but prepared to lead the country. Disgusted and angry, Bobby Kennedy and a lot of the circle of John seem determined to sabotage his presidency. Johnson emerges from this moment, with will and all of his political savvy, makes engrossing drama that is political. It culminates in his stirring speech before the joint session of Congress, hammered out in a few days from Kennedy's talented but unwilling speechwriter Ted Sorensen, in which he claims to execute the deceased leader's "unfinished business" and embrace his legacy on civil rights and justice for the poor.
The very last scenes stunt around his struggle to find the Civil Rights Act through Congress and heal the rift with Richard Russell, whose power that the Kennedys never seem to understand. Russell's satisfaction at America with its first president at 100 years turns to chagrin when he learns his student intends to pursue desegregation in the South. In their final showdown during a of Lady Bird's down-home dinners, LBJ wins a laudable moral victory and calls his mentor a racist. It's among the more gratifying moments in a movie daring in its thoughts than its direction.
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