The Apprentice
Introduction
One glance at Donald Trump in the early reels of the new English film The Apprentice would make you realise that there was a humane side to him. You are introduced to a timid, under-confident man who is almost reluctant enough to go upto the attorney Ron Cohn, in order for the latter to take up a legal case against the federal government investigating his father on charges of racial discrimination. The timid nature of his persona is quite evident wherein Ron and his group heckle him before sending him on his road. This personality trait is in a sharp contrast to the anarchist of sorts that is prevalent today, who thrives in chaos while putting his selfish self ahead of anything that he encounters in a way. And hence, the drama here follows a familiar arc of transforming a regular timid personality to someone who is a monster for the society. And in the words of Ron who was instrumental in this transformation, there were three rules to the game for Trump – ‘Always Attack’, ‘Never Admit Any Wrongdoings’, and the most important ‘Always Claim Victory No Matter What’. So, the drama revolves around these rules that are applied by Trump in various situations that he finds himself in.
Story & Screenplay
The gaze with which I approached The Apprentice was a searing character study of a complex individual. But in reality, there were two character arcs in progress, both of similar trajectory but almost a mirror image of each other. The first arc was essentially of Donald Trump from being a timid persona to a brutal monster, the second arc was of Ron, his attorney, from being in a manipulative position of power to that of a suffering individual with a rather late sense of realisation. The core of the drama remains solely on their dynamics of a mentor and mentee to begin with before corruption and greed changes the crux of their relationship, something that transforms over the screenplay standing at 120 odd minutes.
The drama thrives on its characterization seldom wavering from its its core, even though the episode in the lives of the two protagonist seem fragmented while moving from one event to another. Oddly though, the thread connecting the events is the same of winning at all cost without admitting to defeat even when the protagonist is wrong. The same unleashes a series of events that trigger a game of manipulation and corruption that may tactfully used as a case study even for a few matters in other parts of the world, wherein a similar template is often orchestrated in the wake of power and politics. The idea of Trump completely falling in Roy’s orbit who initially dominates the personality while shaping up the persona as per the requirements best deemed by him, does make for a rather interesting watch.
The proceedings are tantalizing in many ways particularly because the drama also acts as a reconstruction of an anarchist who might appear to be humane but in reality is known to diss his obstacles. The scale of morality soon starts to blur even as you notice the protagonist piling up his pride and transforming in a figure of dissent. This includes him belittling the achievements of his elder brother who is already being dissed by his family for being a pilot. But the bludgeon doesn’t end there. In a gripping scene, you see Trump putting down the achievements of his father by citing that the Trump Toewers was made by him, and that his father was responsible for Trump Village. And in an admitted side of his chauvinistic persona, you see him telling his wife that he once wooed on for being attractive, by telling her just the opposite, that he wasn’t attracted to her before authorizing his machizmo towards her and r*ping her.
In all of this chaos, the tone of the drama is seldom grim. On the contrary, it is playful and borderline trippy with the transgressions, almost symbolic of passing the buck from one mistakes to another while giving two flying f**ks about them. This energy is also symbolic of the journey of an individual that wishes to maintain a public image with respect to his looks but giving a damn about his unapologetic actions. The same is true for its final act even as Roy’s character has drastically taken a backseat after a can of worms that forcing him to be disbarred (revealed to be a homosex*al and contracting AIDS). And that is also what triggers a conflict within a conflict for Trump of wanting to help Roy but always choosing himself over anyone else. In a scene, you see him having developed a fear for germs that leads to Roy berating him on the streets. The reconciliation though is also more of a token between the two with Trump gifting Roy ‘branded jewelry’ that is cheap even as Roy is asked to cut a ‘USA designed’ cake on his farewell birthday. That cake by the way is also a metaphor for the signs of America today, being cut in several pieces even as the humourous finale kicks in with Trump quietly aspiring to be the Presdent, a post downgraded by him earlier in the film. The screenplay here unfolds like a black comedy while doubling up as a reconstruction of an anarchist that may possible change the face of the country, for the better or for the worse depending on which side you look at things.
Dialogues, Music & Direction
The dialogues are conversational while having an underlying layer of dark humour that often acts as a byproduct of the drama itself. The BGM is peppy almost being used as a barrage of sorts for the transgression of drama that is expertly used as fillers in various intervals of the drama. The cinematography has a grainy outlook to it while being shot in 35 mm to deliberately give a dated look to the drama. That acts as symbols of both the yesteryear era while offering a prediction on our present and future with regard to how grainy our lives are today and failing to look beyond the obvious for a better tomorrow. The editing compliments the BGM wonderfully through some smart and crisp transition shots that make for a great viewing. Director Ali Abbasi who had previously directed the controversial Iranian film Holy Spider, spells his magic yet again with a fascinating and gripping narrative that doubles up as a character study. He doesn’t shy away from being completely unhinged and unapologetic with his skillset, while going all out with this drama (and it did help that I had a chance to watch the uncut version). The direction is excellent here.
Performances
The performances are terrific by the members of the cast but there are three standout performances. Maria Bakalova as Ivana addresses her inner turmoil and vulnerabilities brilliantly, particularly in the second hour wherein she has to put up a public facade of sorts. Jeremy Strong as Roy probably delivers the performance of the film for me, being his unabashed self to begin with while transforming into a pale and tepid shadow of himself in a brilliant act that is towering in many ways. Sebastian Stan as Donald Trump does a tremendous job with a character that he could so easily have gone overboard with. He is timid to begin with while transforming into an anarchist even while perfectly maintaining an understated stature throughout the narrative. He was terrific to witness here.
Conclusion
The Apprentice is a complex reconstruction of an anarchist packaged in a searing character study with dollops of dark humour that makes for a wonderful watch. Available in a theatre near you (soon in India).