Frost/Nixon (2008)

After Richard Nixon (Frank Langella) was forced to leave the White House in disgrace, many Americans felt as though the Watergate scandal couldn’t be put behind them until the 37th President of the United States showed some manner of remorse for his actions. British broadcaster David Frost (Michael Sheen), meanwhile, didn’t really care one way or another about a moment of national healing, but he was keenly interested in the millions of potential viewers for such a confession.

And so begins the plot of Frost/Nixon, an entertaining Ron Howard film adapted from the stage play by Peter Morgan (who also wrote the screenplay). It’s unfortunate, however, that most American viewers will accept the depicted events as fact, when the truth is actually quite a bit different (look it up if you don‘t believe me). It’s even more unfortunate that many Americans are getting their history lessons from feature films–especially about events which took place in the last 35 years–but that’s a whole other subject.

Frank Langella and Michael Sheen were both in the original stage play, so the chemistry is definitely there. While this is most evident during the famous series of interviews, it also emerges during quieter moments when the cameras aren’t rolling. Nixon’s fictitious drunken phone call to Frost is one example, and another revolves around a slightly feminine pair of Italian men’s shoes.

Both actors handle their parts well, especially the charismatic Langella. With the bearing of a great man, he manages to make Nixon likable while still brimming with faults such as racism, greed, and a rampant ego. We’re talking about someone who advises Frost to marry a woman from Monaco – not because he loves her, but because citizens of Monaco don’t have to pay income tax.

Speaking of love, Frost/Nixon covers this angle with the inclusion of Caroline Cushing (Rebecca Hall), an attractive woman whom Frost encounters on his flight to meet Nixon for the first time. He’s instantly smitten, and her character continues to show up sporadically throughout the rest of the film. I don’t know if Cushing was added for the sake of historical authenticity or simply to help portray Frost as a man who desires success and all its trappings. Either way, the character serves no real purpose other than to provide a female presence in a film dominated by men, and she could’ve easily be omitted without much negative impact on the narrative.

Kevin Bacon also turns in a compact yet effective performance as Jack Brennan, Nixon’s post-resignation chief of staff. He’s fiercely loyal to the former president, but there’s a certain level of disappointment bubbling beneath the surface. This is played out perfectly in a scene where Nixon suggests wiretapping Frost and his companions. Brennan hesitates, his sense of obligation running headlong into a desire to obey the laws of the land. When Nixon remarks that he’s only kidding, it’s obvious that his chief of staff doesn’t entirely believe him.

The much-hyped interviews between Frost and Nixon are entertaining enough, especially in the early going when Nixon uses various tricks to avoid having to reveal anything of substance. By the latter stages, however, Frost/Nixon loses some of its momentum and attempts to make up ground by distorting the facts. For the record: It wasn’t Frost who coaxed Nixon into a statement of contrition, but rather Nixon’s own staff. Frost just happened to be in the right place at the right time.

Frost/Nixon is an engrossing historical drama ably directed by Ron Howard. Viewers watching it as a work of fiction will have a fine time, but anyone wanting to know more should either consult the internet or their local library. Much like Richard Milhous Nixon, the film can be a bit spotty when it comes to telling the truth.