Last week, Armando Iannucci, the creator of “Veep” and writer-director of “In the Loop,” spoke to Politico’s The West Wing Playbook about the US political climate at the time, particularly how White House staffers likened its energy to “the death of Stalin.” This was before President Biden dropped out of the race on Sunday and handed the baton to Vice President Kamala Harris, but Iannucci’s sentiments speak to the power of art to inadvertently capture issues that we don’t always get to confront in real life.
“What I always remember is the committee scene at the end of the movie where everybody votes on what to do, and of course nobody wants to be the first to put their hand up because they might give the wrong answer and get shot. Everybody listens to everybody else’s opinion before they vote,” Iannucci said. “And I think that’s what’s really happening. Everybody’s thinking, ‘Oh, he can’t serve another four years,’ but nobody wants to be the first to say that. I don’t think anybody wants to be the first from his very close circle to actually say, ‘That’s not going to happen.'”
Iannucci said he didn’t expect someone to ultimately break through to Biden, but whether that would be human or divine intervention remains to be seen. This week, Iannucci followed up on his remarks by commenting on people comparing VP Harris to Selina Meyers (Julia Louis-Dreyfus) from “Veep.” In an opinion piece for The New York Times, Iannucci said, “I worry that politics has become so much like entertainment that our first attempt to understand this moment is to compare it to a sitcom.”
While Iannucci may not think it’s appropriate to compare real political issues to a sitcom, there are plenty of great works of art that capture the conflicts we face today and throughout history. Read on for 10 of our favorite films that we think are especially topical right now to offer a deeper comparison to this political moment.
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Smith Goes to Washington (director: Frank Capra, 1939)
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Although Frank Capra considered himself a staunch Republican, many of his films have progressive themes dealing with issues such as financial corruption, disability, and the pursuit of the American Dream. Perhaps his boldest work on these subjects is the 1939 political drama Smith Goes to Washington. Starring Jimmy Stewart, Jean Arthur, and Claude Rains, the film depicts a Boy Rangers platoon leader who is forced into the role of U.S. Senator by a corrupt political boss who seeks to exploit his naivety. As Smith learns the ways of Washington, falls in love with a girl, and pursues issues that matter to him, his aggressive behavior begins to irritate others who seek to control the party. The film does not condemn any particular political party, but it does comment on the backroom deals being made and the media’s tendency to stifle or fuel conversation based on what is popular.
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The Great Dictator (Director: Charles Chaplin, 1940)
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At a time when the world was reeling in the terror of Adolf Hitler, Charlie Chaplin watched The Great Dictator and was reminded of one simple thing: the Kaiser had no clothes. While many of his peers, many of whom were Jewish, mocked Chaplin’s attempt to openly mock a world leader, he was determined to present a message to counter the terror of Hitler. The Great Dictator was also Chaplin’s first true sound film, and it conveyed the message to audiences that when the time comes to stand up and say something, you should seize the opportunity, if not for yourself, then for others, especially your loved ones.
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The Last Brave Man (Director: John Ford, 1958)
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Ben Mankiewicz’s recommendation: The Last Hurler may be a lesser known non-Western film from director John Ford, but his take on traditional American politics is no less epic. Spencer Tracy stars as an Irish-American mayor of a New England city who, due to his advanced age and longevity in office, finds himself embroiled in a fierce election battle with a candidate who is supported by some of his toughest opponents. While the film will remind us of the dilemma we faced just a week ago when President Biden initially intended to continue the election, it also gives us insight into a man who fights with all his might but then steps back when the time comes. Like Biden, Tracy’s character has been active in many different fields for many years, always driven by a desire to make the lives of others better, even if that desire isn’t always recognized.
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The Best Man (Director: Franklin J. Schaffner, 1964)
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In fact, there are some features in this behind-the-scenes political satire that never seem to age particularly well. “The Best Man,” which centers around the handshakes and deals that take place behind closed doors during a political convention, is based on a play by Gore Vidal. Though Vidal was known as an outspoken liberal, the material is careful not to explicitly state which parties are coming together at the convention. What we need to understand is that in politics, everyone has to make compromises, no matter how hard we try to prove we’re not.
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Harlan County, USA (directed by Barbara Kopple, 1976)
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It’s safe to say that labor and the right to organize will be one of the many key issues debated during this election year. Last year alone, more than 400,000 workers, from writers and actors to autoworkers and Starbucks employees, went on strike. Labor unions, including the AFL-CIO, which represents 60 unions and 12.5 million workers, were among the first to be endorsed by Vice President Kamala Harris. If you’re interested in the importance of unions and their continuing role in American history, check out Barbara Kopple’s “Harlan County, USA.” The film, which won an Academy Award for Best Documentary, captures the plight of 180 Kentucky coal miners and their wives and families as they take on their employers and fight for better working conditions, fair labor practices, and a living wage.
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JFK (Director: Oliver Stone, 1991)
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Since the assassination of John F. Kennedy, there is an argument that America has been living in an age of half-truths and delusions. What on earth happened in Dallas that day? What would have happened to the country if we hadn’t lost Kennedy? All the questions may send us going in circles, but Oliver Stone’s masterful exposé of the events surrounding this fateful moment and the people who sought the truth gives us not answers, but the knowledge that as Americans, we can and should be willing to question and seek. JFK is centered around a powerful performance by Kevin Costner as Jim Garrison, a New Orleans district attorney who tries to uncover new details and hidden intentions that may have been related to the reasons for the president’s assassination. The huge ensemble cast also includes Sissy Spacek, Michael Rooker, Tommy Lee Jones, Joe Pesci, Laurie Metcalf, Kevin Bacon, and Gary Oldman.
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Bulworth (directed by Warren Beatty, 1998)
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Campaigning is an art. Just like a novel, painting, or movie, if it’s really bad, people know it’s really bad. That’s the problem facing U.S. Senator Jay Bullworth (Warren Beatty), a former progressive liberal who is now in the pocket of big business and whose voting record is tilted in the opposite direction. As he faces a populist candidate in the primary, he learns that politics are actually meaningless and decides to get himself assassinated. Then an epiphany strikes: Bullworth decides to speak honestly to the people. He not only speaks, but also raps and dances. In fact, despite being obviously white, Bullworth manages to bring life back into the campaign by acting like a black man and promoting progressive policies. It may sound strange, but watch it and you’ll see how perfectly Bullworth captures the hypocrisy and insanity of American politics.
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The Contender (Director: Rod Lurie, 2000)
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All’s fair in love and war, right? Sadly, it is. Despite the image of civility that Washington DC tries to project, what happens on Capitol Hill or in the White Wing could easily be anything but the Roman Colosseum. It’s a place for the brutes, and “The Contender” aims to portray it in all its seedy glory. After the death of the Vice President, the President (Jeff Bridges) must choose a replacement. While some would prefer a typical male candidate, the President decides to break boundaries and put forward a smart, savvy female Senator (Joan Allen). What follows is an all-out attack on the Senator and the discovery of salacious rumors that threaten not only her political future, but her personal one as well.
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Lincoln (Director: Steven Spielberg, 2012)
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If we are truly present in all the situations we live in and what came before us, films like “Lincoln” are important reminders of what can be accomplished in a short time if we exercise the right power and force. Daniel Day-Lewis’ Academy Award-winning performance as the 16th President of the United States is a display of controlled fear and grief-stricken resilience. As Lincoln, he represents a man and a country that yearns for peace and will do anything, collaborate with any villain, or bribe any means necessary to achieve it. If politics and governance are always just one big game, “Lincoln” shows that strong leadership is often just a matter of aiming and not missing.
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The Death of Stalin (director: Armando Iannucci, 2017)
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In modern politics, brown-nosing has become a trending theme. Just look at the story of J.D. Vance, who went from being Trump’s harshest critic to his running mate simply by declaring his boundless loyalty to Trump. Armando Iannucci’s scathing historical satire, The Death of Stalin, captures a similar era of brown-nosing in relation to Joseph Stalin’s rule in Russia and the treachery and stupidity displayed by his inner circle after his death. The buffoonery on display in the film not only makes us laugh, but also reminds us that loyalty is always conditional, and flies usually flock to the hottest shit of the moment.
