And let that be our legacy

With Charlie Wilson's War Aaron Sorkin roars back to top form screenwriter with a clever , blistering screenplay about how the well intentioned work of a liberal Texas senator eventually led to our current geopolitical landscape. Despite the serious ramifications Sorkin keeps things light but sharp. While there are a number of talents worth applauding both in front of and behind the camera let there be no doubt that this always feels like Sorkin work and that's a good thing.

The story revolves around the titular Wilson who from his first scene separates himself from from the typical Sorkin do-gooder by being surrounded by playboy playmates, coke (though he doesn't partake) and hot-tubing would-be TV producers. What catches Charlie's eye amongst the bacchanal is a special investigative report about the struggling Afghanis fighting communist in the 1980's. Charlie though, actually has the clout to do something about this as he has a crucial chair in the defense appropriations subcommittee. So he quickly doubles the budget for aide to Afghanistan from a paltry 5 to 10 million, but after encouragement from a wealthy Texas heiress (Julia Roberts) and somewhat illegal jostling from disgruntled CIA agent Gust Avrakatos (Philip Seymour Hoffman) Wilson becomes increasingly invested in fighting the communists and helping the war-torn Afghanis. This oddball three person team forever changes the world completely under the notice of the media, its too fantastic to be true, but it's complete non-fiction. Nichols does a fine job of giving a wide cinematic scope to the proceedings, keeping characters and locales hopping ensuring that you're never watching a bunch of talking heads. Even when it's just two chracters in a room Nichols ensure there are solid bits of business that not only underline bits of character but are endearingly cinematic (a certain someone's rear gets trailed by the camera as she moves down the hallway with critical news for our congressman, who could make me so excited, read on).

The film educates but it never feels like a history class, it's fun and jostling, echoing its protagonist. Hanks is having fun here as he's not playing just dramatic noble Hanks but in a way calling back the more wily and playful Bachelor Party and Bosom Buddies era Hanks. Wilson is rarely without a cocktail in his hand, possesses a voracious sexual appetite and has an army of incredibly hot but competent assistants (dubbed appropriately enough Charlie's Angels) led by (oh how this makes me giddy) Amy Adams (swooooon). When questioned about this one of the assistant's explains his philosophy "You can teach them to type but you can't teach them to grow tits", we're well out of President Bartlett's office here. But Charlie's tenacity transfers over to the political world making him an appealing mover and shaker who in the end becomes truly committed and puts a damper on his more lascivious vices.

Of course without proper intel Wilson would be at a loss which is where the bristling Gust Avrakatos comes in. Hoffman plays the character with gusto, abandoning the moroseness and desperation of the last two characters he played this year and creating a wry, uber-competent company man. Hoffman wears his paunch, bad tie and worse mustache like battle armor as he barges into one situation after another like a bulldozer who wants to just get the problem solved immediately. He steals every scene he's in, biting into Sorkin's dialogue like it's a snickers bar. If Seymour is the highlight of the film it's lowlight is Roberts. She's completely servicable in the part of a blustery Texas heiress with a passion for Jesus and the betterment of Middle Eastern countries. Then again Roberts as anyone but Roberts these days is a bit hard to believe. There's a reason she basically played herself in Notting Hill, Ocean's Twelve and alluded to it in America's Sweethearts. I just don't buy her. Oh and also she gives Adams and the angels a hard time so boom right away she's on my shit list. Still Roberts presence has been played up more for the sake of bringing butts to seats then is proportionate to her actual role in the movie. Oh the perils of being a movie about current events these days.
Of course Charlie Wilson's War separates itself from the pack by being fun. A lot of fun. Could a bugged bottle of scotch, a belly-dancer and three guys in a room have completely changed the world? Sorkin certain makes you believe it. Oh sure it reminds you that for all his good intentions Wilson was essentially arming what would become our enemy but the film's final mantra "we'll see" Sorkin reminds us that history is never over and there is still a chance for us to make it right. It's certainly more uplift then audiences got from Lions for Lambs or In the Valley of Elah. After all wasn't it Sorkin who said:

Never doubt that a small group of thoughtful committed citizens can change the world. Do you know why? Because it's the only thing that ever has.

Post hoc ergo propter hoc

Leo: [on the phone with the New York Times] 17 across. Yes, 17 across is wrong... You're spelling his name wrong... What's my name? My name doesn't matter. I am just an ordinary citizen who relies on the Times crossword for stimulation. And I'm telling you that I met the man twice. And I recommended a pre-emptive Exocet missile strike against his air force, so I think I know how...

C.J.: Leo.

Leo: They hang up on me every time.

C.J: That's almost hard to believe

I headed over to imdb today and was caught by surprise seeing that it was John Spencer's birthday, or would have been. I never had the privilege of meeting Mr. Spencer or knowing him on a personal level, but in some way or another as a performer he was always in my life. As a character actor he was a ubiquitous presence as government agents and other assorted suits and bastards throughout the 90's in films like Cop Land, The Rock and The Negotiator. I later learned of his remarkable work in stage production such as Still Life and Execution of Justice. But John Spencer will always be known for one role and one role only. As President Bartlet's chief of Staff Leo McGarry on The West Wing, Spencer was a distinguished presence amongst an ensemble cast for which there are simply not enough superlatives.

Leo: And you think ratcheting up the body count's gonna act as a deterrent?

Bartlet: You're damn right I-

Leo: Oh, then you are just as stupid as these guys who think capital punishment is going to be a deterrent for drug kingpins. As if drug kingpins didn't live their day to day lives under the possibility of execution, and their executions are a lot less dainty than ours and tend to take place without the bother and expense of due process. So, my friend, if you want to start using American military strength as the arm of the Lord, you can do that. We're the only superpower left. You can conquer the world, like Charlemagne! But you better be prepared to kill everyone. And you better start with me, because I will raise up an army against you and I will beat you!

Bartlet: He had a ten day old baby at home.

Leo: I know.

Bartlet: We are doing nothing.

Leo: We are not doing nothing.

Bartlet: We're destroying-

Leo: Four high-rated military targets!

Bartlet: And this is good?

Leo: Of course it's not good. There is no good. It's what there is! It's how you behave if you're the most powerful nation in the world. It's proportional, it's reasonable, it's responsible, it's merciful! It's not nothing. Four high-rated military targets.

Bartlet: Which they'll rebuild again in six months.

Leo: Then we'll blow 'em up again in six months! We're getting really good at it... It's what our fathers taught us.

Bartlet: Why didn't you say so? Oh, Leo...when I think of all the work you put in to get me to run and all the work you did to get me elected...I could pummel your ass with a baseball bat.

It was Spencer's work on The West Wing that exposed him to his widest audience and as far as I'm concerned where he did his best work. A recovering alcoholic, McGarry was an all-too flawed individual, as a former Vietnam vet he had the military experience to counsel Bartlet in times of war and as a bit of hard-ass he was the one who would do the scolding when someone in the office had gotten off-track. In backup features on the DVD it's established that Martin Sheen's Bartlet and Spencer's McGarry served as the parents of the cast (exactly who was the mother and who was the father is a much bandied about joke) and it shows. Both lent the necessary authority and love to their roles and when Spencer died it absolutely made it clear that a White House under the Bartlet administration could not continue. From his relationship with his assistant Margaret (the always reliable NiCole Robinson) to his show defining speech to Josh (Bradley Whitford) Spencer brought legitimacy to every scene and every relationship on the show. He could always be relied upon as the dramatic fulcrum of the show whether it was his crumbling marriage as a result of his long hours at the office, or under indictment by congress for unconstitutional actions, Spencer's work made the viewer even more invested in the characters and their lives. Hell the man even showed of he could do screwball romantic banter (the most disproportionately challenging thing an actor can do) in scenes with Kristin Chenoweth and Joanna Gleason. Sometimes when you're watching truly great drama you get a certain tingle up your spine as story and character build and build and you get more interested and then more invested. It was John Spencer's work that most elicited that feeling on the show and the world is a smaller, sadder place without him in it.

My 3 favorite small but incredibly powerful John Spencer moments on West Wing:
3. In flashback, a struggling Bartlet campaign is on the ropes and the Presidential hopeful needs something to help convey his message to a wider audience. In a private meeting Leo basically turns the whole campaign around by writing something down on a cocktail napkin and gradually revealing the new message of the campaign. "In my head I keep seeing these words over and over." Bartlet for America.

2. After two seasons of lying through omission, president Bartlet reveals he has MS. Naturally this puts whether he'll seek a second term into question. In the very final moments of the second season at a press conference in the middle of what has to be the most dramatically well-timed rainstorm EVER, the president fields just such a question. No one knows for sure what his answer will be, except best friend and confidant Leo McGarry. As the world holds its breathe awaiting Bartlet's answer the camera cuts to Spencer who firmly and plainly states "Watch this" and then Martin Sheen puts his hands his pockets. Cut to credits.

1. In the end The West Wing was a show about dedicated professionals who loved each other as much as they loved their work in public service. Perhaps no moment in the entire series better epitomizes this as a scene where Leo confronts Josh after his post-traumatic breakdown and reminds him of a simple inexorable fact.

Leo: [to Josh] This guy's walking down a street, when he falls in a hole. The walls are so steep, he can't get out. A doctor passes by, and the guy shouts up "Hey you! Can you help me out?" The doctor writes him a prescription, throws it down the hole and moves on. Then a priest comes along and the guy shouts up "Father, I'm down in this hole, can you help me out?" The priest writes out a prayer, throws it down in the hole and moves on. Then a friend walks by. "Hey Joe, it's me, can you help me out?" And the friend jumps in the hole! Our guy says "Are you stupid? Now we're both down here!" and the friend says, "Yeah, but I've been down here before, and I know the way out." As long as I got a job, you got a job, you understand me?

Here's one of the better tribute vids they had on youtube: