“Why does the dog wag its tail? Because the dog is smarter than its tail. If the tail were smarter, it would wag the dog.”
In 1994, a relatively low-budget film was created in 28 days. The film focused on an upcoming presidential election fraught with sexual tension and innuendo. It boasted a star-studded cast including Robert De Niro, Dustin Hoffman, Anne Heche, Woody Harrelson, Dennis Leary, William H. Macy, Craig T. Nelson, Willie Nelson, Andrea Martin, and Kirsten Dunst. Barry Levinson brilliantly directed it based on a novel by Larry Beinhart. All of this was conceived and completed four years before the Clinton/Lewinsky sex scandal. Real-life situations imitating art. It was mind-blowing. How could a satirical, political comedy hit the nail on its head and turn our world upside down? This question was continuously brought up as the headlines soared with malicious, salacious print. As the media relentlessly attacked our President, skirmishes, battles, and bombings across the world began to gather momentum and attention. Again, art and reality colliding for all to see.
Was it all a WAG THE DOG situation when “something of secondary importance improperly takes on the role of something of primary importance?” The public didn’t know at the time, but looking back, we all should have been more keenly aware. The phrase, “This is nothing,” constantly repeated by Hoffman’s character, Stanley, the Hollywood producer inspired by producer Robert Evans, brings today’s current, crazy, whacko election climate to the forefront. Is history repeating itself again? Are we living in a loop that will never end? Are we all pawns being played by those more powerful and rich? When will sexual conduct and repeated, outright lies lose their hold on society’s short attention spans? We are on a countdown until Election Day, precisely like the movie. Is there a CGI October surprise in our future as well? After all, “A good plan today is better than a good plan tomorrow.” De Niro as Conrad (inspired by General Patton) knew what he was talking about. WAG THE DOG is prolific (like David Mamet, one of the screenwriters) and just as fresh and current.
WAG THE DOG maintained strength due to the lightning-fast bantering. The timing and breaths were impeccable. The film was content and acting-driven, so from start to finish, it felt like a huge force of nature pushing audiences forward. Every frame had a touch of authenticity, suspending any disbelief. It was devious and great fun to witness the events and relationships unfold. Levinson gave an honest and mesmerizing portrayal of what probably happens all the time. Kudos. He is a creative genius.
It was a kick to watch the awesome Willie Nelson generate toe-tapping songs on the spot. It was a constant spoof of WE ARE THE WORLD moments sprinkled with 1930s jazzy, scratchy tunes. Nicely done and memorable.
The chemistry between Hoffman and De Niro was like sitting in an advanced acting class. I can only imagine the fun they had together improvising lines and actions, especially when Stanley was screaming, “I don’t want an ambassadorship. I don’t want money. I only want the credit. There is no Academy Award for producing.” Too true, and there should be.
WAG THE DOG is relevant and intelligent. It forces audiences to view politics, the media, scandals, and cover-ups in entwining, entertaining news briefs. It makes us question what we think. This is profound for a film written 34 years ago. November 5th is looming over all of us.
WAG THE DOG is available on TCM.
