Katie Sachs     Primary Parody It is quite fitting that Primary Colors tells the story of politicians. The film's conflicting tones are about as two-faced as many political speeches and promises. On one hand, there is the light-hearted mocking of a current administration, complete with a smooth-talking candidate who has a penchant for Krispy Kreme. He continually scarfs down apple fritters and preaches in a familiar sugary drawl. But the tone of Primary Colors is not always as light and flaky as the numerous pastries consumed throughout the film. Undermining these obvious jabs is a darkness and grief at the lack of morality in politics. Told through the eyes of an idealistic young campaign manager, the film is nostalgic for the days of leaders who we could trust and believe. John Travolta is the primary player, Jack Stanton, a womanizing and sweet-toothed presidental candidate. Indeed, director Mike Nichols seeks comic relief primarily by throwing plates of lard-laden food in front of Stanton. Humor also lies in the uncanny resemblances between the politicians and their real life alter egos. With frosted hair and an extra twenty pounds, Travolta amuses his public with a familiar freaky finesse, taking our own president's affability almost to the point of condescension. Yet he is so smooth, and at times actually genuine in his concern for the people, that you want to forgive Stanton for his flagrant womanizing. Emma Thompson plays his wife Susan -- smart and cutthroat, but at times vulnerable, especially to news of her husband's blatant adultery. The film explores the sad dynamic of their marriage, where infidelity becomes a concern specifically because of its effect on public opinion. Their relationship is intriguing; it is a love/hate alliance, at times held together only by their common goal of winning the election. Though Thompson is effective with her American accent, one does wonder why a British actress was chosen for such an American role. Also joining the team is a loud, profane Kathy Bates, playing a certifiable media consultant. Just released from a mental institution, the political veteran oddly embodies the idealism and naïveté of a campaign worker who devotes her life to a man she desperately wants to believe in. Rounding out the team is Billy Bob Thorton as a James Carville-esque character who bears a freaky resemblance to his inspiration. While the contrast between youthful idealism and the cold political reality of winning adds depth to the light-hearted mocking of the current presidency, the dark sides of other candidates seem a bit of a stretch. The skeletons in the closets of Stanton's political rivals are often far-fetched. Their wild pasts mimic a soap opera and hardly seem believable; anyone could get away with their actions and still win an election, even a spot on a county school board. Director Mike Nichols cashes in on poetic license yet again with the people's reaction to Stanton. He casts a child-like spell upon his admirers, at one point actually bursting into song with them. Thankfully, the audience's dismay is purged through the confused campaign manager, who can hardly believe Stanton's contrasting genuineness and his political shrewdness, as well as his close calls with the media's discovery of his questionable morality. The often cheesy public reaction to Stanton is ultimately forgiven because of the genuine care he offers the people -- justifying his hypnotic, paternal image. It balances well with the harsh realities of a presidential campaign and the conflicts of morality that plague any politcal contest. Nichols presents the duality well, without preaching the ethical high ground or clinging to an overwheliming cynicism. Nothing is ever quaint and clear-cut. And this is appropriate, especially in the world of politics, where even reality is subjective.

back to Decweb main