An American Tragedy: “Nixon” (1995)

Oscar nominees Anthony Hopkins and Joan Allen in a scene from the 1995 film "Nixon"

Oliver Stone has rarely (if ever) made a picture that didn’t embroil him into one type of controversy or another.  His screenplay for “Midnight Express” in 1978 made significant changes to a same-sex relationship that his main character entered into while in prison, and his later films like “Platoon” (1986) and “Born on the Fourth of July” (1989) also brought up questions about the accuracy of what he wrote compared to the reality of the situations of both.  But nothing came close to the brouhaha that enveloped his 1991 release “JFK”, and his 1995 film “Nixon”.  It seems that taking on icons of American politics proved to be too much for the press to bear, as they refused to accept the possibility that Stone was making a dramatic film, not a fact-by-fact documentary of his subject matter.

For as much of “Nixon” that might have been fabricated by Stone, I think it remains a fascinatingly interesting examination of one of the most vilified presidents of all time.  Stone’s style is dynamic, and keeps the picture from dragging even after it passes the two hour mark.  He intends for portions of the film to resemble old newsreels, and early 70’s era television camerawork, and it is this blend of filmmaking styles that creates a level of visual excitement within the film that matches the intrigue of its subject matter.

Moving in a free-form style, integrating flashbacks and asides into the narrative helps Stone to get a grasp on the slippery fish that was Nixon.  And if we never entirely get a clear picture of the man, it is no fault of the actor who gives a grand performance as the anti-hero of his own life story.  Anthony Hopkins didn’t earn the rewards for this role that he did for his earlier work in “The Silence of the Lambs”, but it is no less a memorable and impressive performance.  Not actually resembling Nixon, he must rely more on body language and dialogue than on any mere resemblance to his character.  And he does capture those essences of the man, so familiar to anyone who remembers the images of Nixon broadcast on television screens back in the early 1970’s; the slightly hunched posture, the stubborn scowl, the strident yet sometimes halting speech.

Hopkins is matched note-for-note by Joan Allen, who gives a commanding performance as Pat Nixon, which must’ve been a tougher accomplishment than Hopkins’, as the first lady did not have such a large role in the public imagination as did her husband.  Allen conveys the hopeful optimism, the questioning suspicions, and always the love of a spouse for their partner, even when questioning their actions and deeds.

The supporting cast is made up of a group of powerhouse actors, who use their talents in smaller roles, but with intensity that adds so much texture to the picture.  People like Ed Harris, James Woods, Mary Steenburgen, Powers Booth, J.T. Walsh, Bob Hoskins, David Hyde Pierce, E.G. Marshall, and Paul Sorvino build real people out of the characters that came to be embroiled in the drama of Watergate, and Stone uses them all to his advantage, filling the screen with these characters, each working their own agendas and playing their own roles in the Shakesperian tragedy that was to befall their leader.

And, like in Shakespeare, Nixon’s tragic flaw is ultimately the failing of his character.  His suspicions, obsessions, and whether he did or did not commit illegal acts could not keep him in his position of power for long.  As Stone sees it, he himself was entirely responsible for his downfall.