AP – Decades before he hosted The Apprentice, Donald Trump was… an apprentice.
His mentor: Roy Cohn, the ruthless attorney who was a prominent New York power broker in the ‘70s and ‘80s after famously serving as a top aide to Senator Joseph McCarthy.
The Trump-Cohn connection is well known. But in The Apprentice, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.
It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir – inexperienced but wildly ambitious – into the man who would become the 45th United States (US) president, smashing the norms of American politics along the way.
Speaking of unlikely paths: The mere route of The Apprentice to the big screen is fodder for its own movie.
Written by Gabriel Sherman and starring an ingeniously cast trio of Sebastian Stan as Trump, Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump, the film failed to get picked up at Cannes in May. That was surely due at least in part to a cease and desist letter from Trump lawyers.
Trump’s campaign spokesman called the movie “pure fiction” (the filmmakers call their script “fact-based”). One of the film’s investors – Trump supporter Dan Snyder, former owner of the Washington Commanders – saw it and wanted out. It was only weeks ago that Briarcliff Entertainment announced it would open The Apprentice – less than four weeks before the US election.
So, what kind of movie do we have here?
Contrary to some descriptions, Abbasi says his film isn’t a biopic at all, but a look at a relationship – and at a system that’s about winning at any cost. He’s also not, he says, trying to be political – an admirable goal but perhaps an impossible one. In any case, it’s hard to imagine anybody coming to this film to make their mind up about Donald Trump.
While it’s hardly a hit job – the early Trump scenes are somewhat sympathetic – his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.
But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ‘70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”
He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees.
Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits.
He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”
Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”
The younger Trump is portrayed here as a bit of a charmer – there are even comparisons to Robert Redford – with lovingly tended hair, aching to succeed and please his exacting father.
Stan, on a roll after the recent A Different Man about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no Saturday Night Live skit.
As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of Succession? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake. – Jocelyn Noveck
