No, I did not read Joe Klein's book (the writer was originally listed on the closing credits as "Anonymous"). Whether one does not wish to believe that John Travolta's excellent portrayal is a take on Bill Clinton is irrelevant. If anything, the movie needs to be seen as the dirty game of politics, no matter who the candidate is. The theme of "Primary Colors" is, of course, about the Democratic primary for the US presidential race. The main focus is obviously on intelligent southern governor Jack Stanton (John Travolta), who wants to be president. Not only does he love the common people, he has new ideas. And he has that essentially quality: charisma. But the sympathetic Stanton has a problem that is out of control: his womanizing. (He is also a bit duplicitous.) We do know from the film's get-go that the protagonist has already won (1992), and not just the primary, but the general election too. Henry Burton (Adrian Lester), the torn campaign manager who is also our narrator, tells us so.
John Tavolta satirical characterization dominates, for he is the center of the picture. Even when he is off-screen, one feels his presence. His hair style, scratchy voice, and sexual escapades certainly seem modeled like that of Clinton. And he is a southern governor. Stanton's strong-willed and smart, but long-suffering, wife Susan, is played to a high standard by attractive Emma Thompson. Nevertheless Emma (like Hillary Clinton) is as ambitious as her husband. Billy Bob Thornton (Richard Jemmons), a scene stealer, is Stanton's shrewd political adviser (a la James Carville). In a nutshell, he knows the story. For instance, observe how he perceives that there is something concealed about the popular Governor Picker. The renascent Larry Hagman as Governor Fred Picker is believable in his role. Alison Janney (Miss Walsh) must take the smoothest – and sexiest – fall-on-the-stairs that one will ever see on the silver screen. Kathy Bates as tough-talking corpulent lesbian Libby Holden is brought in to salvage the campaign when the chips are down (like Vince Foster in 1993, she is also a suicide). Libby, like her boss, is also hypocritical. Daisy Green (Maura Tierney), who has to be Dee Dee Myers (Clinton's first press sectary, 1993-94) is fine in a small part. Now, I don't know why we lose Ms. Green about two-thirds the way through the movie, and why we are shown Daisy in Henry Burton's hotel bed. It happens quite quickly; nothing significant really happened previously to show this development. Of course, if you observe the make-up of the cast, these two are a couple by default. About the only one available in the ruling circle is Jemmons. And Daisy wasn't going to fall for him, who, at ten years her senior, appears twenty years older. Although willing enough, Adrian Lester is miscast for the part (the role is really modeled after George Stephanopoulos). Not only is Burton far too noble and ideal, he is also non-too thrilling. At least he does a good job in hiding his British accent. By the way, Jimmy Ozio - played by Robert Cicchini - is supposed to characterize Andrew Cuomo, the governor of NY as of this writing). His father, who drops out of the presidential primary, represents Mario Cuomo.
The film gives us fine character studies and is a portrayal, and just a portrayal. There are no answers on how to improve the political system, where ruthlessness (such as dirt-digging) and biased media coverage play such key roles. Eileen May's screen adaptation blows off-course in the final three-quarters of an hour of a long feature. Get a look at pistol-totin' mama Libby in an incredibly ostentatious scene. Does the neurotic and aging Libby really bushwhack a young female who "looks like Winona Ryder"? Out-of-the-ordinary resolutions nearly derail the movie, and the ending seems awfully swift (and forced). The dialogue is too salty. And yet, because of the film's interesting topic and good pace and fine acting, one's eyes are continually glued to the screen.
John Tavolta satirical characterization dominates, for he is the center of the picture. Even when he is off-screen, one feels his presence. His hair style, scratchy voice, and sexual escapades certainly seem modeled like that of Clinton. And he is a southern governor. Stanton's strong-willed and smart, but long-suffering, wife Susan, is played to a high standard by attractive Emma Thompson. Nevertheless Emma (like Hillary Clinton) is as ambitious as her husband. Billy Bob Thornton (Richard Jemmons), a scene stealer, is Stanton's shrewd political adviser (a la James Carville). In a nutshell, he knows the story. For instance, observe how he perceives that there is something concealed about the popular Governor Picker. The renascent Larry Hagman as Governor Fred Picker is believable in his role. Alison Janney (Miss Walsh) must take the smoothest – and sexiest – fall-on-the-stairs that one will ever see on the silver screen. Kathy Bates as tough-talking corpulent lesbian Libby Holden is brought in to salvage the campaign when the chips are down (like Vince Foster in 1993, she is also a suicide). Libby, like her boss, is also hypocritical. Daisy Green (Maura Tierney), who has to be Dee Dee Myers (Clinton's first press sectary, 1993-94) is fine in a small part. Now, I don't know why we lose Ms. Green about two-thirds the way through the movie, and why we are shown Daisy in Henry Burton's hotel bed. It happens quite quickly; nothing significant really happened previously to show this development. Of course, if you observe the make-up of the cast, these two are a couple by default. About the only one available in the ruling circle is Jemmons. And Daisy wasn't going to fall for him, who, at ten years her senior, appears twenty years older. Although willing enough, Adrian Lester is miscast for the part (the role is really modeled after George Stephanopoulos). Not only is Burton far too noble and ideal, he is also non-too thrilling. At least he does a good job in hiding his British accent. By the way, Jimmy Ozio - played by Robert Cicchini - is supposed to characterize Andrew Cuomo, the governor of NY as of this writing). His father, who drops out of the presidential primary, represents Mario Cuomo.
The film gives us fine character studies and is a portrayal, and just a portrayal. There are no answers on how to improve the political system, where ruthlessness (such as dirt-digging) and biased media coverage play such key roles. Eileen May's screen adaptation blows off-course in the final three-quarters of an hour of a long feature. Get a look at pistol-totin' mama Libby in an incredibly ostentatious scene. Does the neurotic and aging Libby really bushwhack a young female who "looks like Winona Ryder"? Out-of-the-ordinary resolutions nearly derail the movie, and the ending seems awfully swift (and forced). The dialogue is too salty. And yet, because of the film's interesting topic and good pace and fine acting, one's eyes are continually glued to the screen.