Culture » Film

War of attrition

Charlie Wilson's War


With neither wine nor women at hand, Tom Hanks - Wilson considers Pleasure No. 3: serving America.
  • With neither wine nor women at hand, Tom Hanks Wilson considers Pleasure No. 3: serving America.

Charlie Wilson's War (R)
Carmike 10, Chapel Hills 15, Cinemark 16, Tinseltown

Here's something I never in my wildest dreams thought I'd ever say: Aaron Sorkin needed to write more. For the film adaptation of George Crile's fascinating nonfiction book Charlie Wilson's War, director Mike Nichols recruited a guy in Sorkin who seems to know a few things about documenting the political milieu. But the creator of The West Wing as well as the late, lamented Sports Night has never been a man of few words. His densely verbose scripts are often smart and punchy, bit the fear was that he'd get so chatty he wouldn't be able to trim down the sprawling narrative to a manageable size.

Instead, he improbably did exactly the opposite. Charlie Wilson's War is beefy real-world politics stripped down to skin and bones.

Charlie Wilson (Tom Hanks) is a Texas congressman whose great pleasures in life are drinking, women and serving America roughly in that order. But in 1980, his interest is piqued by a news report on the beleaguered Afghan rebels fighting against the invading Soviet army.

Spurred to action by a wealthy donor, Joanne Herring (Julia Roberts), Wilson begins investigating how to increase aid to Afghanistan. Once he's able to use his pull to get the money flowing, all it takes is the know-how of CIA agent Gust Avrakotos (Philip Seymour Hoffman) to launch the most massive covert operation in American military history.

Thst operation's details are mind-blowing, but Nichols and Sorkin understand that an audience isn't likely to sit still for debates over secretly acquiring rocket launchers. They focus instead on the compelling character that is Wilson, a libertine whose openness about his character flaws seems incomprehensible only a generation later. But while Hanks seems to be enjoying the rare opportunity to play someone who's not Jimmy Stewart, the script never really explores the rabid anti-communism that drove Wilson's efforts.

The filmmakers are more successful in dealing with Avrakotos, largely because Sorkin can use him to unleash his saltiest bon mots. Hoffman, predictably, knocks another characterization out of the park, seething with the resentment of a coarse, street-smart guy who can't get a career break in the white-collar intelligence community.

The best scenes in Charlie Wilson's War involve Avrakotos' no-nonsense style an unapologetic tongue-lashing of his boss, a visit to Wilson's office that's repeatedly interrupted by a breaking scandal. You come to Sorkin for memorable dialogue, and that's what he delivers.

What he doesn't deliver is a real sense of the story's geopolitical scope. Nichols finds time to dwell on a scene of Roberts' Texas socialite using a safety pin to separate her heavily-mascaraed lashes, and an almost-slapstick sequence of Mujahideen shooting down their first Soviet airships. But the film seems almost too desperate to keep the tale light and lively, virtually ignoring the legalities of Wilson's machinations in an effort to make him sort of a tragic hero.

Turning this story into what is essentially a comedy was a bold choice and, at least artistically, not a particularly wise one.

Of course, it's likely that audiences will embrace Sorkin's brand of breezy poli-sci more than they have dour stuff like Rendition and Lions for Lambs. But Charlie Wilson's War feels so stripped down that its underlying ideas come off as tacked-on afterthoughts. You'd never expect Sorkin, of all people, to be the one replacing awards-season epic bloat with textual malnourishment.

Add a comment

Clicky Quantcast