Dennis Littrell 2008-12-01
1 of 2 people found the following review helpful:
BEWARE SPOILERS!! (and pompous displays of semi-relevant erudition)
Director Mike Nichols is a past master of women's point of view films that go beyond the narrow confines of the "chick flick." Silkwood (1983); Heartburn (1986); Working Girl (1988); and the very fine Postcards from the Edge (1990) come to mind. His first feature was an adaptation of Edward Albee's play Who's Afraid of Virginia Woolf with Richard Burton and Elizabeth Taylor back in 1966. He followed the next year with the generation-defining The Graduate with Dustin Hoffman. His films feature fine satire played along the cutting edge of the popular culture.
Here he deviates slightly to celebrate Texas congressman Charlie Wilson who managed to persuade Congress to support the Northern Alliance in Afghanistan against the Soviet Union in the 1980s. In particular Wilson was able to get American shoulder-launched Stinger missiles for the locals to shoot down Soviet aircraft. In the film we see some nice graphics of just how effective those missiles were. It is no exaggeration to say that Charlie Wilson's intervention turned the tide against the Soviets and eventually persuaded them to withdraw. A few years later, as we all know, the Soviet Union came to its sputtering end.
Nichols's "celebration" of Congressman Wilson is however mitigated by the revelation that Good Time Charlie was no angel. Tom Hanks plays the alcoholic and cocaine snorting congressman with a genial--almost innocent--duplicity that only hints at the Machiavellian personality required to properly grace the hallowed halls of Congress. Hanks is just too sweet, a nice guy playing at being a practiced power broker. What is missing is the edge of obsession and single-minded egoism. Perhaps we needed John Malkovich with an east Texas twang.
Julia Roberts plays Wilson's long-time girlfriend whose interest in defeating the godless communists stems not from any sympathy for the out-gunned Afghans but from religious sensibilities of the sort usually associated with evangelical members of the Daughters of the American Revolution. I found her white wig and high-toned manner a step in the wrong direction for Miss Roberts. I fear that the transition she is making from starlet to star to character actor is an embarrassment that she might want to avoid.
The real star of this film is Phillip Seymour Hoffman who plays the international operative and sometime American spy, Gust Avrakotos, a sneaky, blunt and very smart guy who also wants to defeat the Soviets. Hoffman brings to the part the kind of rough edge and frankly Machiavellian intent missing in Tom Hanks' character.
The film is marred slightly by a depiction of people in power and their environs that conforms to something like television's mass culture with lots of sleeping around and sharp-edged wise-cracking on the spot, and a somewhat simplistic story line. None of this is to be helped since a living must be made and producers must be assured that the mass audience will attend. Mike Nichols is used to this, and it is remarkable how many fine films he has made that simultaneously seduced not only the money men and the audience, but the critics as well.
The message of the film is contained in a Zen master story that goes like this (I am paraphrasing from the quotations page at the Internet Movie Database site):
There's a little boy and on his 14th birthday who gets a horse, and everybody in the village says, "How wonderful. The boy got a horse." And the Zen master says, "we'll see." Two years later the boy falls off the horse, breaks his leg, and everyone in the village says, "how terrible." And the Zen master says, "we'll see." Then, a war breaks out and all the young men have to go off and fight except the boy who can't because his legs are all messed up. And everybody in the village says, "How wonderful." And again the Zen master says, "we'll see."
This captures the spirit of our continuing military involvement in the Middle East. Today's results may look good or bad but can only be really defined by the unintended consequences to come. We armed the Afghans. Unfortunately their triumph against the Soviet Union led to the rise of the Taliban, and that to their harboring of Al Qaeda which led to 9/11, which led to... and so on. How Charlie Wilson's War ultimately ends may not be known for generations.
See this for Mike Nichols whose clear direction and sharp eye for satire is undiminished as he approaches his ninth decade of life. (He was 76 when this film came out.)