“Indeed, work whose Christianity is latent may do quite as much good and may reach some whom the more obvious religious work would scare away. The first business of a story is to be a good story.” – C.S. Lewis
C.S. Lewis might have been talking about religion, but his words apply to politics, too. Overt politics makes for bad entertainment.
It’s a lesson America’s political conservatives certainly ought to have learned by now. Right-leaning would-be entertainers have spent years trying to counter the left’s dominance of the culture with movies that clumsily and unsubtly push conservative ideas. There’s a considerable list of failures. The awful 2011 film adaptation of Ayn Rand’s Atlas Shrugged bludgeoned audiences with bad acting, forced dialogue, and an anti-government message. In 2008, David Zucker’s An American Carol pushed unabashed patriotism with poor satire and awkward slapstick. Fox News tried to counter the Daily Show’s bias with “The Half Hour News Hour” in 2007 – a Weekend Update-wannabe whose laugh track was the only way viewers would know where the jokes were. There are numerous enough examples to prove that artists who focus on political messages first and their art second will lose their audiences.
That lesson applies on the left, too.
Will Farrell caught heat recently after media reports linked him to the title role in a project titled Reagan. The satirical comedy reportedly revolved around staff members coaxing the former President through his second White House term through the fog of Alzheimer’s Disease.
Dementia is comedy gold, right?
Unfortunately, the screenplay’s apparent goals went beyond making a political satire. Positioning Reagan – still the champion of so many on the center-right – as a witless buffoon comments negatively not only on conservatism, but Alzheimer’s as well. The would-be filmmakers (including Farrell, screenwriter Mike Rosolio and others attached to the project) seem to have allowed politics to cloud their judgment when considering what audiences would laugh at. Blinded by ideology, they lost sight of comedy.
It’s too bad, because there’s a nugget of value in that plot. Imagine this alternative: A party leader, so desperate to win some race (maybe state legislator or even Congress) hatches a plan. He recruits an aging, politically uninvolved former actor, who doesn’t watch much TV or pay attention to social media, into appearing in a “movie” about running for Congress. Except, the actor isn’t filming a movie, he’s filming commercials, and participating in actual debates rather than staged scenes. Now imagine Farrell, playing a comically demanding prima donna actor past his prime, as the hapless, unwitting candidate. (Maybe Steve Carell could play the unscrupulous party leader.)
In this version, the objects of satire are party leaders political image-makers. The film doesn’t target anyone else suffering from Alzheimer’s, or cast the voters and supporters of any particular side as easy dupes. It wouldn’t have the major buzz that controversial subject matter attracts, but with smart, witty writing and a tight plot, it could achieve the type of cult-hit status that films like Dave or Thank You for Smoking have enjoyed in political circles.
The film was early in its development. Perhaps, had news of the project not been so widely reported, smarter minds would have revised the concept as the script went through re-writes. More likely, the production would have suffered the same insular groupthink that made it acceptable to use dementia for laughs because of the patient’s political party. The most probable result would have been a disastrous finished film that inadvertently spent two hours making fun of people stricken with Alzheimer’s.
Audiences don’t want movies that sacrifice a story in pursuit of political points. Farrell, Rosolio, and company should be happy they learned this lesson before they sank any more time and money into a sure box office bomb.