On The Ides of March

The Ides of March is a political thriller the likes of which are not often seen at the cinema in the last two decades. The film does not pander to an uninformed audience, but maintains a superb pace and level of tension so that any audience would be enraptured by this tale of warring democratic presidential nominees.

The biggest coup that George Clooney as director has pulled here is populating his film with an excellent cast. From Clooney himself as the Obama like candidate with a dirty past to the protagonist, Ryan Gosling, the optimistic, young media mind with a ruthless streak, the acting is magnificent. And that is not even mentioning the always fantastic Philip Seymour Hoffman, who here grounds the film from escaping into melodrama with his restrained passion. Paul Giamatti, Evan Rachel Wood and Marisa Tomei, Jeffrey Wright, all excellent.

To strip the film back and just look at the story is to reveal weaknesses. There are some scenes that feel far too contrived and the ending, while appropriately downbeat and ambiguous, still feels unsatisfying. The smaller plot stands prove far more tantalising and offer more affecting twists and turns. The development between Gosling and Giamatti’s character is fantastic and unexpected. Fortunately for the larger story Clooney’s direction is assured and his awareness of audience is second to none. The manner in which the characters lives are allowed to unfold ensures the pace is perfect and the suspense rises and falls, playing the audience like spin-doctors play the voters. Although this should come as no surprise from a director who has given us the excellent, Confessions of a Dangerous Mind (2002) and Good Night, and Good Luck (2005) and the fun, if slightly misjudged, Leatherheads (2008).

The ides of March refers to the day Caesar was murdered by those closest to him. There may be no murder here – not of Caesar, anyway – but there is an inner circle and there is betrayal and this proves a welcome return for the political thriller and makes one nostalgic for the 1970s, a decade which produced such films with prolificacy.