Film Friday: Bob Roberts (1992)

In the spirit of the upcoming election, I thought I’d do something you never thought I would. . . I’m going to recommend a movie written by, staring, and directed by Tim Robbins. This is another one of those richly ironic films where an über-leftist tries to expose the “evil right wing” and ends up exposing his own side. It’s also a very entertaining film.

** spoiler alert **

Bob Roberts is the fictional story of Bob Roberts, a candidate for the United States Senate in Pennsylvania. It’s told in a documentary style, but remains very film-quality. Roberts (Tim Robbins) and his mysterious campaign manager (Alan Rickman) manipulate the press, slander their opponent, enter into shady deals, encourage cult-like followers, and dodge an obsessed “journalist” (Giancarlo Esposito) who investigates the truth about Roberts’ mysterious dealings. That truth appears to be that Roberts is a Manchurian candidate of military contractors and the C.I.A., who are secretly funding his campaign. And no dirty trick is too low for this campaign.

So why in the world would I recommend this film? Well, for one thing, it really is quite a good film. It’s well shot, well paced, and all around entertaining. For another, the film boomerangs on its leftist intent. Here are some examples:

First, while Roberts is the evil right winger cliché that haunts the dreams of leftists like Robbins, Roberts actually comes across as one of those likeable villains you find yourself cheering on -- just like the generation of kids who wanted to be Gordon Gekko after Wall Street. It's hard not to like Roberts because he's friendly, witty, and is unfairly put upon by the other side. For example, Roberts keeps saying things like: “stay off crack. . . it’s a ghetto drug.” If you understand the anguish the left has regarding the disparity between how cocaine and crack are sentenced, and how they blame that disparity on racism, then you’re supposed to see this statement as evidence of racism and you’re supposed to be appalled. But that's too deep in the pond of leftist paranoia for most people and anyone not steeped in hard-left victimology will simply see this line as funny and/or absurd.

Secondly, the folk music is great. Roberts is a folk singer and he uses his music as part of his campaign. The music is intended to be pure satire, as Roberts sings lines like “be a clean living man with a rope in your hand” (implying you should act like a vigilante). But most people will find themselves having a high degree of sympathy with the lyrics of his songs. In fact, Robbins became so concerned about this that he refused to release the soundtrack for fear that Republican candidates would start using his songs -- just as Ronald Reagan turned Bruce Springsteen’s anti-American rant “Born in the USA” into a pro-American anthem.

Third, this film highlights the nastiest side of liberalism in the most unflattering ways. For example, in one scene, it shows the intolerance of liberals when Roberts appears on a fake Saturday Night Live show (the parody of SNL is actually spot on, with poorly-written unfunny scripts, bad acting, and mindless characters). The actors (including John Cusack) throw tantrums about Roberts showing up, treat him rudely, and finally try to sabotage the show to deny him any publicity. While Robbins no doubt thought the audience would see these characters as noble for standing up to power, they actually come across as mean, petty, and intolerant. . . exactly the kind of vile, intolerant, hateful types we've seen parading through Hollywood for years now. Moreover, their hate is made impotent in the film because nothing they try seems to be able to stop Bob.

Fourth, this film is rich in irony. While Robbins means this film as an indictment of the American right, the things he accuses the right of doing are all out of the playbook of the left. For example, it is hilarious to see Robbins complain about secret military funding of right-wing Bob, when the past 20 years have shown that liberals are the creatures of big business, the military industrial complex, and foreign money. He accuses right-wing Bob of planting a fake sex scandal to embarrass his opponent, something Democrats specialize in (like all the October surprises, e.g. the fake Bush Sr. affair, CBS making up Bush Jr.'s military record, etc.). It’s also hilarious to see a brainwashed cult-like group of followers (including a young Jack Black) begin following Bob around, when the only thing approaching this in real politics has been the legion of Kool-Aid drunk liberals that wept whenever Obama spoke.

In some ways, this film is also quite prescient. For example, it foretells the much nastier style of campaigning that has become a Democratic specialty -- secret dirty money, image over substance, a hard-left flank that tries to suppress its opponents by any means including violence, faked scandals, loads of hate, etc. It also foretells the shift from a mainstream media to a more fringe media. In fact, Bugs Raplin (Esposito), the crazed journalist, is a lot like the paranoid weirdoes who would soon begin to inhabit places like Huffington Post, where they too complain that the MSM won’t cover the "real" truth because they’re beholden to secret corporate interests.

At first blush, this film sounds like something you wouldn’t want to see if you’re not a flaming leftist, but it really is worth watching. Robbins’ attempt to slander the right backfires in almost every scene and his story telling ability is undeniable. The story has clever twists and turns, the acting is perfect, and the characters are likeable. Moreover, unlike most leftist films, this one doesn’t preach because it assumes that you will pick up the meaning from the words and deeds and motivations of the characters, and that you will naturally agree with Robbins. . . hence, no need to preach.

Sadly for Robbins, he never realized that the window he thought was letting him peer down into the dark side of conservatives was actually a mirror. Good for us though.

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