SWING VOTE: A REVIEW

Bud and Molly in a lighter moment at home in Swing Vote (2008)

This is a better than average political satire. It is also a better than average social satire. Folks, that’s not bad. Kevin Costner, as a human being, as his “issues” which he likes to touch on in his films. In that sense, he’s something of a preacher. In this film he doesn’t “seize you by the throat” and “shake you good” to make his points. I, at least, appreciate a film production that respects my space. In so much as Kevin Costner “casts his vote” for the working poor in America in this film, he gets my “Oscar.”

Movies are getting a bit expensive now, and therefore the moviegoers may tend to be well-heeled yuppies, who aren’t too concerned with “the great unwashed” of America. Therefore, this film doesn’t seem to be doing too well. Disney may retreat to the “Batman” and “Spiderman” moneycows. That would be a shame.

I thought that Costner’s “Bud Johnson” was well realised generally. A character such as “Bud” may have some “pith” to him, which gets loss during a “slump” in his life but which can resurface to good effect. As a matter of fact, this has happened regularly in film stories. In a loose sense it is a variation of the “Return of the King” theme. It is also a bracing, if unlikely, idea that one man can make a difference nowadays.

So, what could make a “Bud-loving” no-count man do anything good? Cherchez la femme! In this case it is little “Molly Johnson” (Madeline Carroll), who is Bud’s daughter. She looks to be ten or eleven years old. She is a bright kid who has had to shoulder a load, as Mom (Mare Winningham) has split to “pursue” a musical career in Tucsin, AZ. Incidentally, Dad at one time had a pretty fair Texas band, specializing in singing Willie Nelson songs. In both cases music lifted them up and, after dashed dreams, left them next door to the “Streets.” Dad has settled into an anesthetized West Texas existence, working at a chicken processing plant by day (drinking on the job too), as well as “whooping it up” at the local tavern at night. Little Molly has had to grow up fast and in a “bummer” situation. She does have a school chum who has something of the same problem. She’s got some determination in her. Further, she has ideals. Now, any woman with these ingredients, whether young or old, has the stuff to “move mountains”–well, men anyway.

There are good supporting performances offered by Dennis Hopper as the Democrat Presidential nominee, “Donald Greenleaf,” and by Kelsey Grammer as the incumbent Republican President, “Andrew Boone.” Hopper’s character sort of blends the George McGovern and Walter Mondale political personalities with a touch of Ralph Nader. He is interesting to watch as a study of how “the race” for public office conflicts with personal beliefs and is destructive toward ones best aspects. As is usual with Hopper, he looks a little weird. Kelsey Grammer is very good as President Boone. Surprisingly, I was reminded of Hubert H. Humphrey, of all things, blended with George H.W. Bush. Go figure! Again, one witnesses the data banks gattering info on Bud Johnson, after which a script could be written, touching on major issues with Bud Johnson, for the president to use in “one-on-one” meetings.

Along the way the moviegoer sees Bud Johnson going about his routine, working-poor life, and pick up a few issues and interests, here and there. Although he is clearly on the benign, live-and-let-live side, he does seem to be a little bit influenced by friends, daughter, and “the local view” around West Texas. These loose conversations are gathered into the data banks as “important to Bud.” Sometimes the views are just things he has heard said, and he latches onto them under media pressure. This leads to a snowballing comedy of political satire as the candidates key off these “views” of Bud. Each candidate rolls out a celebrity to “schmooze” with Bud. The Republicans bring Richard Petty out of mothballs, and he and his Nascar vehicle come knocking at Bud’s door. The Democrats remove Willie Nelson from his cryogenic device to meet bud, who idolizes him.

At one point Molly gets so disgusted with Bud that she decides to go live with her Mom. She was under the impression that she could go to her Mom’s at any time and be welcomed. When she gets there, her Mom, well-played by Winningham, clearly doesn’t want her there. However, as she seems AWOL to Bud, he gets shook up about it, finally retrieving her from the Mom, who may have a booze/drug problem besides her “pipe-dream” of making a successful career in music. Molly seems to her an impediment to her imminent success.

The film opens in Bud and Molly’s trailer situated in a park. Molly is trying to rouse Bud from his bed. He’s feeling the affects of some excess booze from the night before. She gets him up and gets him fed. She reminds him of matters he has promised to do. She does this often. She must, if there is any hope of getting him to keep an appointment or the like. This is not an auspicious beginning to the story.

The story capsule: A man and his young daughter are trying to make ends meet in West Texas. Mom is off to Tucsin, trying to “make it” in music. The daughter, Molly, has to keep Dad going, so he won’t lose his job at the chicken processing plant. This isn’t easy because he’s dispirited and drinks too many beers too often. She’s a good student and takes to the academic challenges with earnestness and idealism. She even gives an oral report to her class on civil responsibilities. The national election is coming up, and it is important to her that her Dad vote. Incidentally, a local, ambitious reporter at a TV station “caught” Molly”s report and “aired” it locally. This reporter, Kate Madison (Paula Patton) becomes something of a model for Molly, who respects her intelligence, goodlooks, and successful media career. She seems pretty square. However, Molly would come to see how professional ambition and pressure can turn a local star into a “paper moon.” (There is ultimate redemption, after a fashion). Yet, Molly is not a saint, for all her ideals and earnestness. Fearful that her father would not make it to the voting station in time, she goes in and manages to forge his name on the registration count sheet, get a voting ticket, go into a booth, and start to vote. At that precise moment, the switch is pulled, and the voting machine goes dead. The ticket is stuck in the machine, but Molly tears off the receipt and runs home. Bud, of course, had forgotten the vote, and was drinking and playing at the tavern. So it goes. The story contrives an election that is so close that only one vote could decide the election. There are camera cuts to various “talking heads” from TV, et al. The next day the ticket is discovered, and Texas law provides that the voter must be allowed to vote. As the voting ticket had not actually been voted, the selection was still open to the voter’s decision. The authorities quickly honed down the possibilities to Bud’s district. By canvassing voters they focused on Bud Johnson, and went calling. He saw them as possibly from a goverment Family Relation’s Agency, planning on taking Molly away, and he was a bit panicky. When he learned that they were there about the vote, then he “schlepped” right into the role (helped by Molly’s receipt), and the big deceit began. (Social responsibility? Hmmmnn!) This led to the realization that he was going to choose the next President of the United States of America. He was an instant celebrity. Bud Johnson–Man of the Year? To put it mildly, he is surrounded by media representatives both night and day. Both President Boone and Democrat hopeful Greenleaf fly down to win Bud’s vote. Molly’s idealistically motivated attempt to get her father to be civilly responsible produces a vast arena of mounting corruption. The only phrase that captured this film moment’s character was: The end justifies the means. It operates across the board. Most everyone is caught up in it. Only Molly indicates doubt, regret and foreboding. From this point the moviegoer can sit back and enjoy the satire. The script is decent-to-good. The film concludes with a sort of reconciled and rededicated Molly and Bud (”Fine!” “Fine!”), Bud has had his day in fame and got to quiz the candidates in behalf of the working poor (and directly, also, from their written letters of concerns [old filmstory device]), and is finally seen entering the voting booth to cast his vote. The film fades away. There is never any certainty which way he voted. Maybe the point is that it doesn’t even matter, as they are actually a double-headed coin.

All rights reserved. Gobigfoot, 2008.