Ali Abbasi’s new film revolves around the rise of Trump and has Jeremy Strong in a powerful supporting role
‘The Apprentice‘was one of the most anticipated premieres of the Cannes Festival, especially for discovering the interpretation of Sebastian Stan as a young man donald trumpbut also because it is the new movie Ali Abbasidirector of ‘Holy Spider’, with which he already competed for the Palme d’Or in 2022. After seeing it, I can say that Stan stands out with his transformation, but Abbasi is somewhat buried.
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The origins of Donald Trump
Written by Gabriel Shermanco-writer of the miniseries ‘The Loudest Voice’ (which already explored part of Trump’s context), ‘The Apprentice‘ It begins with a speech by Richard Nixon to place us in context and to launch a scathing comparison with the film’s protagonist and his destiny. Stan is only going to play Trump at an early stage in his career, his rise as “king” of New Yorkbut there are references and winks to his later political career.
After the brief prologue it is time to meet the ambitious young businessman who stars in this black comedy that questions the path to success. We’re at a fancy nightclub and Donald J. Trump is trying to impress his date by pointing out all the people he knows there, claiming that it’s the biggest club in town and that he’s gotten membership before. than anyone. A scene that quickly portrays the protagonist and its objective.
Precisely, there it intersects with Roy Cohn (Jeremy Strong), a famous and controversial lawyer with a strong character who will be fundamental to the evolution of Trump, who at that time was frustrated working for his father’s company. In fact, the title of ‘The Apprentice’ refers to the reality show led by the tycoon where he judged the candidates’ business skills: here, he is the apprentice. Once he gains Cohn’s trust, Cohn teaches him everything he needs to know to succeed.
From basic rules of conduct to a supposed defense of “America” as a justification for whatever and a general predatory attitude (in the film they insist on being a “killer“) which basically boils down to absolutely anything goes to win. Morality and norms are for others, for the weak, for the losers. Roy Cohn becomes the father figure he needed. A mentor who replaces Trump’s father, drawn as a despicable man who has his family in fear.
Both figures model the mind of Trump, who will surpass his teachers and become the image of success in the United States. A monstrous image, a consequence of pact with the devil. This corruption is reflected both in his physical appearance and in his relationships with his closest environment. Her love story with Ivana Zelníčková (Maria Bakalova) is a clear example of the human deterioration of the protagonist.
And speaking of transformations, Sebastian Stan triumphs with his work in ‘The Apprentice’. He disappears into the role to make his own version of Donald Trump, carrying out a subtle transition (with the obvious support of physical characterization) until he reaches the tycoon’s most recognizable tics, details and words. At this point it is difficult to take seriously an interpretation of such a recognizable and parodiable character, but Stan overcomes this complicated challenge. Next to him stands a extraordinary Jeremy Strong, who coincidentally plays another “Roy” after the addictive ‘Succession’.
Strong takes advantage of a supporting role to shine and deliver another memorable performance that could earn him an Oscar next year. The two stars shine and the one who is most overshadowed is the director, Ali Abbasi; there is no trace of the author from ‘Shelley’, ‘Border’ and the aforementioned ‘Holy Spider’. Perhaps by filming in English, by addressing a real scenario that is so foreign or by focusing more on humor, the truth is that the narrative works and it is clear that there is a clear vision of what the film should be, but it could have been directed by anyone else. (good director).
In fact, ‘The Apprentice’ fits into the trend of recent biopics, both in film and television series, which are approaching the recent history of the United States from a more comic than dramatic perspective, with grotesque protagonists, perhaps as the only way to healthy escape from a reality that is sometimes so crazy that it surpasses fiction. In short, Abbasi does not deliver a very original product that breaks with what we have been seeing recently, but The film is very entertaining and has two sensational performances.
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