Directed by:
Ron HowardCinematography:
Salvatore TotinoComposer:
Hans ZimmerCast:
Frank Langella, Michael Sheen, Sam Rockwell, Kevin Bacon, Matthew Macfadyen, Oliver Platt, Rebecca Hall, Toby Jones, Andy Milder, Kate Jennings Grant (more)VOD (2)
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When disgraced President Richard Nixon agreed to an interview with jet-setting television personality, David Frost, he thought he'd found the key to saving his tarnished legacy. But, with a name to make and a reputation to overcome, Frost became one of Nixon's most formidable adversaries and engaged the leader in a charged battle of wits that changed the face of politics forever. (official distributor synopsis)
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Reviews (13)
Of the films with Peter Morgan's screenwriting signature that I've seen so far, Frost/Nixon is unfortunately one of the weaker ones. On the one hand, there are perfect performances by Frank Langella, Michael Sheen, Sam Rockwell, and Kevin Bacon, and a neat documentary atmosphere. On the other hand, the characters are pretty much useless, including (unfortunately) Rebecca Hall, whose purpose I didn't fully understand, and some off-camera scenes are barely believable, for example, the late-night phone call. I guess the original stage play is more concentrated, and thus probably better.
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It's not often that a Hollywood studio reaches for socially significant material and allows for the creation of a film that deviates from the established templates of comic book adaptations, romantic and family comedies, or other entertainment genres. Frost/Nixon is an exceptionally successful film from a technical standpoint, with careful casting, a quality screenplay, and thoughtful direction. If there is a challenge somewhere, it lies in the subject matter itself, in what the creators see as crucial, and what they want to communicate. In reality, Frost/Nixon is not a film about politics and a controversial but influential figure of the time. It is about the role of the media, specifically television, which took on a decisive influence in shaping public opinion in the second half of the 20th century. It is no coincidence that the film repeatedly mentions the famous television debate between Kennedy and Nixon, where Nixon's defeat was decided by the sweat on his face, which appeared unpleasing on camera and made Nixon look older. The decisive moments of Nixon's scandal took place out of the television cameras' view. The ant-like work of investigators, investigative journalists, and behind-the-scenes negotiations of lobbyists during the impeachment process was all beyond the scope of this film as if it didn't exist. By the time the film's story takes place, Nixon was already out of the game, and the duel with Frost was merely a symbolic end to his tenure in office. The televised duel at the political level did not signify a significant turning point, and Nixon continued to publicly function as a private individual and a veteran of the Republican Party, which even considered resurrecting Nixon and his re-candidacy after Ronald Reagan's second term. Frost was and remained just an entertainer who made a mark in media history by managing to bring these events back to television screens and turn them into a major hit several months after the government scandal and the president's resignation. Frost approached the interview as an opportunity to gain visibility and make money. He didn't understand politics, but he knew and understood television as a medium very well. Overall impression: 80%.
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A boxing match between a political champion and a loser from an entertainment slum, 4 rounds at a dazzling pace and nerve-wracking gradation. Ron Howard undoubtedly trimmed the political issue, adjusted both characters and put them into the ever popular scheme "David vs. Goliath KO in the last round"... However, I am honestly searching in vain, trying to find out when I enjoyed it more and when, behind the brilliantly elaborated scheme, I found such an exciting background and point that goes beyond mere entertainment. The Frost/Nixon duel reveals the part of politics one has to follow breathlessly, media fireworks, a powerful story and a remarkable message about the power of the television screen. I don't think this film will surpass the other Oscar favorite, in my opinion.
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Reflecting on one of the black shadows of American history while thoroughly dissecting diverse human characters, this two-hour conversation is propelled by Howard's reliably craftsman-like direction and the amazing acting performance by everyone (!) involved. Yet despite the exceptionalism of the supporting parts, it is ultimately the excellent Martin Sheen and his crackpot 1970s metrosexual who falls flat on his face, and especially (I’m not afraid to use the word) the brilliant Frank Langella, who do in fact carry the film. The way Langella inhabited the character of Richard Nixon - a tall but stooped man who has been whittled to the bone by two years of affairs, yet still has that dark sparkle in his eyes and the sharp tongue with which he can fend off opponents - reminds me in many ways of oil tycoon D. D. Lewis. The fact that Langella was politically overlooked in the Oscar race in favor of the homosexual Milk made me jump out of my chair. And finally, there’s Ron Howard - the religious conspiracy screaming is forgiven because the visual concept (excellent editing and cinematography) and overall swing bring the film to the absolute peak. Along with Stone’s W., this is one of the most interesting "political" films of recent times (maybe even years).
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An enthralling conversational drama that goes from a simple interview to an event with potential unexpected consequences. The acting performances are at times breathtaking and Langella is utterly convincing as Nixon. And Howard knows exactly what he's doing, thickening the atmosphere immediately during the first tape when Nixon takes Frost down, and escalating it twice, first on the phone and then during the last 20 percent of the movie. I don't understand why he did the Langdon series when he is much better at this sort of thing. Plus, Zimmer's music is once again top notch.
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