SPOILER ALERT! The plot will be discussed.
Since last time I took a look at one Henry Fonda political movie where he played Secretary of State, I thought I would follow it up with another where he is being considered for that same office. Like The Best Man, this earlier movie (1962), directed by Otto Preminger, presents the maneuverings by government leaders to reach their goals, even if the tactics they use can be distasteful. These leaders hide their strategies so the movie also focuses on how appearances can be deceiving. This film, like The Best Man, has an outdated perspective on homosexuality, but it suggests that the attempt to ruin individuals by various means seems to be part of the political process. The story explores the conflict between personal interests and the welfare of the majority of people and that some issues have many shades (maybe not fifty) of grey between the extremes of black and white, and how it's impossible to adhere to only extreme ways of thinking.
The title, of course, comes from the United
States Constitution, which says that the President shall “nominate” people for
“Officers of the United States,” with the “Advice and Consent of the Senate.”
(That’s supposed to be the entire Senate, not just the majority political party
leader, but things have changed). The film places its credits over the flowing
American Flag to the accompaniment of rousing political music which, like The
Best Man, suggests patriotism. The opening written notes contain an upfront
disclaimer that the characters are fictional, but, according to IMDb, they are
based on real persons, such as communist chaser Joseph McCarthy, President
Franklin D. Roosevelt, President John F. Kennedy, and Alger Hiss, the accused
Soviet spy, among others.
A newspaper headline informs us that the
President (Franchot Tone) has nominated Robert Leffingwell (Fonda), whose last
name implies a left-leaning individual, for the Secretary of State position.
Senator Stanley Danta (Paul Ford), the majority party’s “whip” who helps secure
votes, is upset that he had to read about the pick in the newspaper and visits
the Majority Leader Senator Munson (Walter Pidgeon) to vent his frustration.
Munson echoes that feeling on the phone with the President as he states
Leffingwell was not on the list of potential persons they had discussed. The
President values the man’s help, and there is a diplomatic vacuum since the
prior Secretary of State passed away. Munson says Leffingwell has numerous
enemies in Congress and doesn’t show “political courtesy.” The President seems
to like the man because he doesn’t play political games and “waste his time on
trifles.” We have here a theme that comes up in many political dramas which is
to explore to what degree a person has to compromise himself to get ahead in
government.
Munson keeps scratching his ear or pulling it,
almost as a tell which shows his agitation (I’m not sure if this is a character
gesture or a tic of Pidgeon’s since I may have seen him do the gesture
elsewhere. In any case it fits here). While Munson converses with the
President, Danta comically makes himself at home, sitting down to enjoy
Munson’s breakfast. Is this a characteristic of politicians to get what they
want whenever the opportunity presents itself? Munson says the main problem
they have is in their own party, zeroing in on Southerner Seabright Cooley (an
over-the-top Charles Laughton in his last performance). Just as in The Best
Man, there are conflicting voices within a political party which reflects
the times, as opposed to the unified stances that exist within the Republican
and Democratic parties currently in Congress.
Munson and Danta head over to the hotel room of Senator Lafe Smith (Peter Lawford), a handsome man, and notice a beautiful young woman leaving from the senator’s place. Danta dangles the privacy sign in front of Smith. We realize that Smith (the fake name people use to register at hotel rooms for affairs) is sexually adventurous. Munson says a person in Smith’s position “should stabilize with a good, solid marriage.” Smith says Munson is setting up a double standard, since the Majority Leader is also single. But Munson says he is a widower, which implies he was able to commit to a long-term relationship and was deprived of his spouse through no fault of his own. So, the thrust here is that Smith is not displaying the dignified appearance that a senator should exhibit. The stress here is on the image one projects, not the inner person. The line, “perception is reality” from The American President comes to mind.
Despite not liking the choice, Smith says he’ll follow
the party leadership and vote for Leffingwell. He adds that another senator,
Brigham Anderson (Don Murray) (the first name mirrors the fact that the senator
is from Utah which has its Mormon heritage) will vote “yes” also, despite
Leffingwell being against a power bill Anderson proposed. Again we have party
politics in conflict with other concerns. Munson wants to know what the
opposing party will do so he calls the Minority Leader, Strickland (Will Geer),
who gives him the number who will be opposing Leffingwell. Smith is on the
phone with Anderson who is with his wife, Ellen (Inga Swenson) and their young
daughter. On the surface it is a lovely family picture, but it turns out to be
deceiving. Anderson, being nonpartisan and thus an independent thinker, says he
isn’t committing yet, and wants to hear Leffingwell’s testimony. He knows that
Cooley will want the spotlight on him, so we already expect that the senator
from the South is a boisterous showman.
There is a nice segue to Senator Cooley from South
Carolina, dressed in white like Colonel Sanders, after he has used public
transportation, which shows how he would rather associate with common folk
compared to the other Senators enjoying the luxury of a hotel and taking cabs
to the Senate. Munson runs into Cooley on the way in and wittily makes a
reference to the man's Evangelical background by saying, “Had your fire and
brimstone this morning, Seab?” Cooley calmly responds by saying he also had
some “hot bourbon and branch water,” and that is why fire may be coming out of
his ears. The scene is set for a fight on the Senate floor. When asked by
Munson if he would lay off attacking Leffingwell, Cooley says he will not
deviate from his principles to satisfy the President or his party. But is that
really the case, since Munson says Leffingwell caught Cooley in a lie five
years prior and Cooley holds a grudge. Again there is that conflict between
personal interests and those of the population as a whole.
Inside the Senate chamber Senator Fred Van
Ackerman (George Grizzard) greets Cooley who barely acknowledges the man,
suggesting that Van Ackerman is not an admirable fellow. He is a young man who
carries a pipe with him, like a prop, to make him look more mature and
professorial. It doesn’t work. He tells Munson they will get Leffingwell
appointed because he is “a great man, a great talent.” This overenthusiasm
indicates a flatterer who is trying to ingratiate himself with his party’s
leadership to further his own position. He has men with him he calls his “brain
trust,” but Danta paints them as yes men when he says they throw flowers in his
path. Van Ackerman says he has a “peace group” that both Munson and Danta smile
about, knowing it is just a front for the man to publicize his name. His
personal ambition is obvious since he wants to chair the subcommittee that will
review Leffingwell’s nomination. Danta points out to Munson Van Ackerman’s
selfishness and the need to marginalize the man. But, Munson is not wary enough
of the young senator, and says he will just “fall off” the political vine like
some rotten fruit.
Munson calls Leffingwell, who tells his son,
young teenager Johnny (Eddie Hodges) to say he isn’t in. He explains he doesn’t
want to be drawn into an obligation. The boy doesn’t like lying, and
Leffingwell says it’s a Washington type of lie, which is when, “the other
person knows you’re lying, and also knows you know he knows.” Such is the
labyrinthine political path that twists the truth to maintain appearances of
civility. Danta acknowledges the false truth game Leffingwell is playing to
Munson. Johnny shows youthful idealism amid the jaded self-interests of others
as he encourages his father to want to be Secretary of State so he can at least
“try” to make things better when it comes to world peace.
There is a tour of the Senate building going on
which points out the grand historic tradition of this branch of the government.
The guide is talking about Robert E. Lee and Ulysses S. Grant, who were
classmates at West Point and who later fought against each other in the Civil
War. The insertion of this item shows how the United States contains in it
simultaneously the grounds for comradeship and the seeds for divisiveness.
There is a shot from the Senate gallery as the wives of foreign dignitaries,
and we, the audience in the movie theater, become spectators in the story
itself. But then there is a shift to the floor where we can be among the
lawmakers. However, the first shot is upward, as if these men are bigger than
life as they hold the public trust in their hands. In fact, there is the
inscription on the wall that reads, “In God We Trust,” another symbol of the
sanctity of the democracy that may be just for appearances considering the
sometimes shady tactics employed by the lawmakers. (The inscription, and the
prayer that opens the session, may rankle those who are strict believers of the
need for the separation of church and state. But here they may indicate the
higher purpose of democracy to others).
Strickland points out that Munson is worried
that his own party will “rupture” in disagreement if Leffingwell isn’t quickly
approved, which emphasizes the need for strategy. The women in the balcony
comment on the fact that liberals do not necessarily sit on the left and
conservatives not on the right. It is an interesting metaphorical observation
that there can be crossover views despite party affiliation (although this
viewpoint may seem nostalgic as we watch this film now). The women are there to
provide basic governmental information. It is pointed out that the Vice
President, Harley Hudson (Lew Ayres), presides over the Senate, and is the
President of the Senate, even though he is neither an elected senator nor
president. And, he can only vote if a tie exists. These apparently contradictory
facts are confusing to the foreign women, and maybe to America’s own
citizens.
The Chaplain, in his blessing, prays for the
Senators to be able to “ascertain of each who would serve his nation his true
nature and purpose, lest through inadvertence and oversight, there slip into
seats of power those who would misguide and mislead the people.” Strickland in
an aside says that even the man of religion may be weighing in on the
Leffingwell nomination as a negative choice. This comment again notes a merging
symbolically of church and state, but the Chaplain’s words show how, without
due diligence, corruption can infect the political health of the nation.
Vice President Hudson, who used to be a governor
so he knows something about being an executive, asks Munson and Danta if there
is anything he can do to help with the nomination, but they don’t pay him much
attention. He jokingly shows how others ignore his government position when he
says he murdered his wife and buried her under a “kumquat bush.” Danta isn’t
even listening to what he has said. Munson finds out that the President wants
to limit the nomination hearing to the subcommittee which would prevent a
broader public debate over Leffingwell’s qualifications. Munson knows that
Cooley would fight that tactic, most likely because he wants to grandstand his
attack against the nominee to a broader audience. We have here the desire to
hide discussion from the public and the opposing wish to play to it, both for
selfish reasons. So as not to make it appear (the facade’s importance stressed)
that the nominating process is too partisan, Munson decides that the more
neutral Anderson should chair the hearing.
Munson’s plan to speed the process is already
being thwarted by Senator Orrin Knox (Edward Andrews), who is opposed to
Leffingwell, and is using the senatorial tool of giving a long speech to allow
dissent to grow. He does yield to Cooley, since they are on the same page in
this case. Cooley allows Smith to question him, and the young senator wonders
why Cooley believes he knows more about who should be chosen for Secretary of
State than the President. Cooley stresses Smith’s lack of experience, but says
even with his youthful ignorance Smith would have made a better choice for the
job. Smith sharply flips the age argument by suggesting that the elderly Cooley
suffers from stagnation of mental processes when he says Cooley, “assumes an
infallibility of knowledge, which denotes a closed mind and an aged crust of
prejudice.” Instead of addressing Smith’s claim concerning Cooley’s resistance
to new people with fresh ideas, Cooley instead tries to divert the argument
into an example of how Leffingwell causes dissension and attacks between them.
Cooley calls the nominee “an evil man” who will pursue “a policy of
appeasements,” which is an accusation of weakness towards the country’s
enemies. The movie implies that fear is always an effective weapon to
disqualify someone. Cooley goes on to say that Leffingwell “will weaken the
moral fiber of our great nation.” The film argues that another useful tool in
politics is to raise suspicions about the values of another, which is a
variation on the fear factor.
At a dinner party thrown by the rich political
socialite widow Dolly Harrison (Gene Tierney), Van Ackerman makes it known to
Munson that he is upset about not being chosen as the subcommittee chairman.
However, it’s obvious that he wants to rise in the Senate to a position of
power, so he says he will do all he can to get Leffingwell confirmed. He argues
with Knox, who feels Leffingwell will allow communism to spread. Van Ackerman
represents a more isolationist viewpoint, stressing the need to concentrate on
America and stay out of conflicts with foreign powers, no matter how dangerous
they may seem. The Vice President sits by himself outside, emblematic of his
exclusion from the political loop. Munson joins him and Hudson notes he hasn’t
seen the President in six weeks. He has to ask the Majority Leader about the
President’s health, another item hidden not only from Hudson but also the
country. The point is to present a positive front, despite the reality, which
is another rule of politics. From what he’s gathered, Munson says that the
surgery the President underwent was not successful. Hudson does not delude
himself, as he says he was a compromise pick for the vice presidency, and was
selected because he can charm women. He doubts his ability to take on the job
of leading the country and says he doesn’t want to. Munson gives him
encouragement by saying it’s not a negative thing to approach the job with
“humility,” and that most need to grow into the position (although the movie’s
implication is that not all are up to it despite being elected).
Munson returns late at night to Dolly’s
sumptuous house and we discover he is romantically involved with the younger
woman. This fact is yet another secret kept from the public probably to foster
Munson’s appearance as a bereaved widower who puts his service to his country
first. But the covert relationship is more Dolly’s doing since Munson states he
wants to marry her and kids that she is afraid he will not be reelected if word
gets out that he has a girlfriend.
The subcommittee hearing begins as Anderson
swears in Leffingwell and Cooley has been allowed to conduct cross-examination.
Van Ackerman, sitting in, makes a public display of kissing up, saying openly
to Anderson that he hopes they will confirm Leffingwell. He also interrupts,
trying to point out where he thinks Anderson is falling down on the job so that
it will show why he should have been named chairman of the hearing. Knox and
then Cooley hammer Leffingwell because the nominee says he thinks it’s
reasonable to try to make peace with the communist countries if the opportunity
presents itself. Cooley, following up on Knox’s line of questioning, paints all
communists as inherent enemies and not worth negotiating with. He tries to get
Leffingwell to admit exactly what concessions he will be giving away to the
communists. When Leffingwell will not deal in hypotheticals, Cooley is very
good at twisting the discussion to allege that Leffingwell is hiding something.
Cooley has no evidence at this point, and appears to want to slander by
allegation.
However, evidence comes by way of Senator Velez
(Raoul De Leon) who asks about Leffingwell’s time teaching at the University of
Chicago. Velez says he has a telegram from Herbert Gelman (Burgess Meredith)
which states he knew Leffingwell at the college. Gellman alleges that
Leffingwell “associated with left-wingers and communists.” Leffingwell says he
doesn’t recall Gelman, and when Velez says he can’t contact the man,
Leffingwell says it must be a crank letter. But, here we get a taste of what is
hiding in Leffingwell’s past, despite his claiming to be transparent (similar
to Fonda’s character in The Best Man). When asked whether he would go
along with a first strike nuclear assault in the event that an enemy was on the
brink of attacking us, Leffingwell says no. Instead, he would try to “bargain”
for concessions on both sides. Cooley pounces on the statement by fiercely
saying he wouldn’t weakly go begging to the enemy. In essence he is echoing the
slogan of the time which proclaimed Americans would rather “be dead than red.”
Leffingwell points out that it is exactly Cooley’s gung-ho attitude about war
that is outdated, suggesting the potential use of nuclear weapons can result in
annihilation. Anderson points out Cooley’s “pride” in wanting to defend our way
of life, but Leffingwell says that pride is a “dangerous” element when it comes
to maintaining survival in modern times. Anderson, who we learn requires
clarity as to right and wrong behavior, suggests the possibility that maybe we
now live in a world where there is too much “equivocating.” Leffingwell says
unfortunately that is the world we live in, suggesting there are no simple
answers to complex problems. Fonda again is playing an intellectually
complicated character, as he did in The Best Man, and admits to being a
supreme “egghead.” However, the film implies that average Americans usually
dislike overly intellectual people for being condescending.
Following an adjournment, Leffingwell is
diplomatic when asked about the use of smear tactics against him. But Van
Ackerman, trying to grab the spotlight with the press, is combative as he
accuses the committee of encouraging an assault on the nominee. Anderson makes
light of the suggestion, but Van Ackerman is not laughing as he is accompanied
by his team, which look like thugs. Van Ackerman previously said he wants Leffingwell
approved to keep the peace and avoid war. That pacifist line is his public
stance, but he is contradictorily quite aggressive in the way he acts.
When the committee reconvenes, Cooley delivers Herbert Gelman and calls him as a witness. He is a timid, quiet fellow who appears to be doing his civic duty but underneath he also has a secret agenda, which is revenge (like the Shelly Berman character in The Best Man). It turns out the devious Cooley had Gelman send the telegram to Senator Velez without a return address. Cooley made it look as if Gelman couldn’t be found so that Leffingwell would feel safe in denying he knew the man. Gelman testifies that he worked under Leffingwell when the nominee was Chairman of the Federal Power Agency. Gelman says he also was a student of Leffingwell’s at the University of Chicago. He says Leffingwell fired him because he knew Leffingwell is a communist. Back in college, Gelman says he was invited to a political discussion group with people who used phony names. One man advocated the violent overthrow of the government, but Leffingwell said there would be an erosion of the traditional government and that is how Marxism would take over. Cooley makes an implied reference to how this strategy is like Leffingwell saying that they must abandon older forms of dealing with the country’s foes. Gelman says he withdrew from the group when he realized it was a communist “cell.” He said Leffingwell then failed him in his class. He didn’t report the situation at the time because of fear, but now felt it was his duty to come forward. When Anderson asks if Gelman’s testimony can be corroborated, Gelman sounds like a mentally unstable paranoid person as he yells out that he is not lying. Gelman says one of the men who attended these meetings is now dead and he does not know what happened to the other, so there is nobody to confirm what he has alleged. Leffingwell secures an hour recess to prepare a cross examination. After the adjournment Munson tells Cooley he must realize Gelman isn’t telling the truth and calls Cooley an old buzzard. Cooley is witty when he says that old buzzards have great eyesight, can spot their prey from high above, and he is now eyeing “the terrain,” implying he is hunting Leffingwell. He is suggesting that being a politician is a predatory occupation.
Back at the hearing, Leffingwell admits that he
did know Gelman, but only after hearing his testimony. He has a witness who was
Gelman’s immediate supervisor who says that Gelman was not hospitalized for
tuberculosis, as the man said, but for a nervous breakdown. The boss says that
he wanted to fire Gelman, but Leffingwell secured a job for him at the Treasury
Department. He also has evidence from the University of Chicago that Gelman was
not a student in any class taught by Leffingwell. He adds that the address
Gelman provided where the communist “cell” supposedly met has been a fire
station for over fifty years. Leffingwell is attacking Gelman’s accuracy
because the man has a psychiatric condition, but Leffingwell is going after
peripheral details to throw doubt on the central allegation that Leffingwell
was involved in a communist group.
After being questioned by Anderson, Gelman now
appears to be a very unreliable witness as he admits to having a nervous
breakdown, not TB, and that he didn’t know Leffingwell found him other
employment. He says he may be wrong about the class attendance and the group’s
address. Anderson says the committee owes Leffingwell an apology, but Cooley
does not offer regret, and storms out asking for a transcript of the
proceedings. Leffingwell is gracious as he says he is not owed an apology, and
will serve his country no matter what. He receives applause from those present.
So, he has maneuvered the situation to cover up the truth, as so many of the
other characters in the story are doing.
Cooley, knowing how politics works, does not
take anything as true on the surface and personally goes to secure Gelman’s
employment history. Meanwhile, Leffingwell meets with the President and decides
to be truthful with him, saying he did know Gelman from those meetings. He was
never a member of the Communist Party, but was young and seeking a “cause.”
Later he decided that communism wasn’t what he was looking for. He asks that
his name be withdrawn from consideration. He is guilty of perjuring himself in
front of Congress, but at least he has a conscience, and wants to set the record
straight with the President. His contrition only goes so far though, as he says
that he isn’t sorry he lied, but that he “had to lie.” His statement reflects
the strong anti-communist attitude in the United States at the time, which
bordered on extreme paranoia for many. Of course he could have withdrawn his
nomination before lying, and the fact that he didn’t suggests he felt he was
being pragmatic, not upstanding. He also admits that he secured Gelman the
Treasury position to shut him up, and he did so through Hardiman Fletcher (Paul
McGarth), who works in that department, and wants to keep things secret since
he was one of the men in the meetings in Chicago. The President, a seasoned
politician, also is willing to sacrifice honor for practicality, and asks if
anyone else knows Leffingwell lied. Obviously the President is trying to
contain any knowledge of the facts in order to get his confirmation, one’s own
agenda again superseding ethics.
Cooley meets with Fletcher outside the
Washington Monument, noting how the first United States president was known to
not tell a lie. The use of the symbol of American pride in honesty contrasts
with all of the deceptions in the story. Cooley discovered the connection
between Leffingwell and Fletcher when he investigated Gelman’s work records. He
wondered why Leffingwell sent Gelman directly to the Treasury Department for
the personal approval by Fletcher to secure the man's employment. Cooley uses
the intimidation of a federal investigation to frighten Fletcher into sending
notice to Anderson revealing the truth. Cooley says that in his letter Fletcher
will pretend that he is confessing because of his own conscience, not because
he was caught by Cooley. Cooley assures Fletcher his name and all of the
information will be kept secret to protect Fletcher and the President. This
deceptive scheme is to force Leffingwell to withdraw, and Cooley will spare his
party’s President from any embarrassment. Duplicity rules here to achieve one’s
political goal.
Fletcher does contact Anderson, who tells Munson
that Fletcher said he wanted to do what was right. Munson's response is one of
disbelief and says Fletcher is just protecting himself. Doing the right thing
is suspect in this world where everyone acts out of selfish motivation.
Anderson delayed the subcommittee vote, and Van Ackerman uses that postponement
to gain public attention on the floor of the Senate by attacking Anderson,
whose chairmanship he wanted, for subverting the President. The other senators,
including Senator Bessie Adams (Betty White in a very early role) see no reason
to attack the actions of the subcommittee. They use good humor to defuse
tension, but Van Ackerman is a humorless person, and rants at his fellow
senators for their levity. Anderson, responding to the loud personal attack
from Van Ackerman, says that Van Ackerman may be scaring children in the
gallery. What follows is an ominous statement from Van Ackerman when he says,
“I’m not too sure the senator from Utah can’t be frightened.” The usually quiet
Vice President shows his strength of character and is stern here saying,
“there'll be no threats made on the floor of this chamber.” Even Danta is
surprised by Hudson’s admonishment. Van Ackerman calls for a full Senate vote
on the issue of the confirmation of Leffingwell. While Danta tries to get Van
Ackerman to withdraw his proposal since they do not have sufficient votes lined
up as yet, Munson addresses the Senate, saying traditional procedures have been
in place for a very long time to keep the democracy functioning. He warns
against damage to the democratic process if those rules are discarded “in the
heat and passion of the passing moment.” The cautionary note here is that no
matter how strongly we feel about personalities and issues, the higher purpose
of the democracy’s rules must be honored. The pressure on Van Ackerman causes
him to relent and he withdraws his proposal. Munson wants Anderson to meet with
the President later, but Anderson feels that it might be best that the
President withdraw Leffingwell’s nomination. Then Van Ackerman, with his posse
present, tells Munson he has the “whip” in his file to keep Anderson in line,
which shows the senator wants to make good on his earlier threat of
intimidation.
The President subverts Munson’s plan for just
having a private meeting with Anderson by publicly noting surprise at the
Correspondents' dinner that Anderson is thwarting confirmation of Leffingwell.
The President says he is sticking with his nominee, even though he knows
privately that Leffingwell lied. Of course Van Ackerman runs up to the dais and
cheers the President, kissing up as usual. The President is publicly attacking
Anderson, who did not expose Leffingwell’s past openly and tried to be discreet
about what Fletcher (manipulated by Cooley) revealed. Anderson is trying to do
what he sees is the only proper thing, and he is, and will be, punished for it
in this sleazy political setting.
The President does meet Anderson with Munson
present after the dinner and wants him to not expose what Fletcher said so that
Leffingwell can be confirmed. Anderson says it doesn’t matter if Leffingwell
only flirted with communism as a younger man and is not one now. He says he
should not have lied to Congress. The President makes a good point suggesting
that Leffingwell’s life will be ruined because of something in his past that
would not affect his present ability to be Secretary of State. Ironically, as
we shall see, the President says to Anderson, “Well, maybe there’s nothing in
your young life you’d like to conceal, but we’re not all that fortunate.” This
statement goes to the central theme of the movie, which depicts how one’s
public life can be a false covering hiding regretful past actions. But, the
film also makes the point that people should not be condemned for certain
harmless activities in their lives that are unacceptable to the rest of
society. In this case, Anderson is placed between the rock of his convictions
and the hard place of offending his President and humiliating an otherwise decent
nominee. Anderson can’t morally concede and says he will have to call Fletcher
as a witness to be transparent. The President, too, will not back down, and
leaves angrily. Munson tells Anderson that things aren’t always black and
white, but that is how Anderson sees this issue. That rigidity will come under
attack.
There is a scene that starts out as a touching
and average picture of Anderson coming home and tucking his young daughter in
her bed in a room covered with the child’s drawings. He goes to his bedroom and
accidentally wakes up his wife. He says he felt good about his confrontation
with the President. Then the shoe drops, as Ellen tells him there was an
anonymous phone call from a man who said he should think twice about his stance
on the Leffingwell nomination and made a reference to what happened in “Hawaii,”
where Anderson was stationed in the Army. She says the man’s voice sounded like
he was talking about “some kind of nasty secret.” Again the film stresses the
disparity between what is presented on the surface and the complete picture.
The President noted there aren’t too many people who do not have something to
hide, and as it turns out that includes the man who believes in the “black and
white” surety of his convictions. Anderson says she received a crank call, so
now he is covering up his past, as did Leffingwell, even with his wife.
More calls follow, and Anderson experiences
increased worried tension. In the Senate, he pressures Munson as to when the
President will realize he must withdraw Leffingwell for consideration. For
Anderson, the quicker a new candidate is submitted, the sooner the threatening
calls will cease since Leffingwell would no longer be in the picture. Anderson
takes a walk and encounters Cooley sitting on a bench, watching the drama he
has initiated play out. He acts compassionate about how Anderson looks weighed
down and warns about how the younger senator is dealing with “devious, powerful
men.” It just so happens Cooley is one of those individuals sometimes. However,
while Cooley works subtly in the background, Van Ackerman is the blunt
instrument here. But the President also knows how to work the process, as the
disappointed Cooley informs Anderson that the Chief Executive sent Fletcher to
Europe on some mission, which prevents Anderson from calling the man as a
witness. Cooley says of himself that he may be powerful and devious, but he is
on Anderson’s side. But does Anderson want an ally who advocates the belief
that the ends justify the means?
Deception and intimidation continue as Van
Ackerman and his gang look on as Anderson receives a threatening phone call in
the Senate cafeteria. The fact that this reprehensible action occurs in the
building where integrity should prevail is especially upsetting. The man on the
other end of the line says they have a photo and a letter that can damage
Anderson if he tries to prevent Leffingwell’s appointment. The man who made the
call came from Van Ackerman’s table in the area and he returns to his seat
after his call from a phone booth is over. The rattled and paranoid Anderson
doesn’t know who to blame for the harassment and demands of the clueless Munson
that the President withdraw Leffingwell immediately. Anderson visits
Leffingwell and tells him about what Fletcher said and he should withdraw on
his own. Leffingwell said he promised he would leave it in the hands of the
President. After Anderson leaves, Leffingwell realizes that his boy overheard
the contentious conversation. Now that even his son realizes his father has
been lying, Leffingwell decides he should tell his son the truth, which is hard
to come by in Washington.
Raymond Shaff (John Granger) had visited Anderson’s office when the senator wasn’t there, and the Senator seems evasive when the secretary advises him of the man’s attempt to contact him. Anderson’s wife is upset because she, too, knows that some hidden truth is starting to burst through to the surface. She says there was another call and the man on the phone said they had “bought Ray.” She tells him that she expects her husband to be honest with her, but even the moral Anderson fails this test. She is smart enough to realize that other people are trying to get at him through her. Just as in Leffingwell’s home, here we have a child, Anderson’s young daughter, Pidge (Janet Jane Carty), representing the innocence of youth contrasting with the deceit of the adults. Anderson is now ironically mirroring what is happening to Leffingwell, as each man is haunted by something he tried to cover up in his past. Anderson’s black and white view that Leffingwell should be honest and confess what he was concealing is now torturing Anderson because of his own concealment. Ellen thinks he must be having an affair with another woman but he assures her that the problem is something that happened long ago. Yet, he still doesn’t tell his wife the truth. She suggests that he give in about the confirmation, but he says that would mean sacrificing the principles he lives by. His inner conflict is cracking him apart.
While Anderson is at an airport, Ellen confesses
what has been happening to her husband to Senator Smith. She is seeking help,
but she, too, is now hiding something, not telling her husband about contacting
Smith. He voices the theme of deception in the film when he says maybe Anderson
will not have to find out she reached out to him. The web of secrecy keeps
spreading. She describes her husband as being “desperate,” a term which
historically means a person is losing the ability to hold onto one’s faith, and
resorting to suicide. Smith tries to offer a pleasant lie, which is that her
husband may be trying to protect someone else. That may seem acceptable, but it
is still untrue. Despite his encouraging words, Smith knows there is a serious
problem with Anderson and he tells Rumson that a blackmailer is going after
Anderson.
Anderson goes to the address that Ray Shaff left, but encounters a man named Manuel (Larry Tucker) who says Ray doesn’t live there. Unfortunately, Manuel presents stereotypical gay mannerisms. If we haven’t already guessed, Anderson’s past contains a homosexual incident, which, at the time, was felt to be reprehensible. Manuel says he is a “mail and answering service for friends of Ray,” which is “confidential.” Truth in this film is closeted in many ways. Anderson realizes he must pay Manuel, who suggests he offers his apartment as a meeting place for sex. Manuel does say that Ray is at a “Club 602.” The club is a gay bar, and Anderson runs off as soon as he enters, supposedly feeling disgusted by his past. Ray sees him, runs after him, and says that he needed money, so that is why he contacted Anderson. Since Anderson ignored him, Ray betrayed Anderson and made a deal with Van Ackerman. As he drives off in a cab, Anderson pushes Ray away from the car door onto the ground as he symbolically tries to distance himself from his past. One could say that the film is a low point in dealing with homosexuality, but there may be an argument that the story shows that the denial of allowing same sex relationships is what pushes people to act desperately.
Anderson meets the Vice President on the plane
from New York to Washington. Hudson asks about the nomination, and Anderson is
immediately on guard, not knowing who is behind applying the pressure. Hudson,
who gave a speech at the PTA which illustrates his minor role in the administration,
says the President and the senators keep him out of the loop. But he realizes
that Anderson seems to be carrying the load of the confirmation alone. Hudson
says being Vice President is like living in a mansion without furniture, which
points again to how politics stresses surface appearances. He is genuine
however when he offers Anderson his help. Hudson is insightful and caring, and
Anderson says that, “I’ve suddenly gotten the feeling you’re the most
underestimated man in Washington.” It is an interesting observation. In
contrast to many others, Hudson's positive appearance on the outside is
representative of what he is on the inside. What is hidden, however, is a man
of praiseworthy character underneath that public relations exterior assigned to
him. Anderson is about to open up to the Vice President, but can’t bring
himself to share his pain.
Anderson goes to hide in his Senate office, but he can’t evade his own torment. He learns when entering that Smith is looking for him and he knows that his wife is calling him on the phone. The blackmailer left an envelope that Ellen finds which contains an old letter from her husband when he was in Hawaii telling Ray that what they had was due to the stress of war, and that he has a life now and doesn’t want to hear from Ray again. Writing on the envelope says there are five hundred photos showing the two men together. The indiscriminate poison injected into the political process has tragic ramifications as Smith, at a card game at Dolly’s house, gets a phone call saying that Anderson cut his own throat and is dead. The man could no longer live in a world that would judge him as unequivocally as he judged others. As Rumson informs others of the sad news, the camera lingers on Cooley, who is also inadvertently culpable because he did not take into account that his plotting would make Anderson a target for others.
Munson, Smith, and Hudson visit Ellen to comfort
her concerning her loss but also to find out what caused her husband to commit
suicide. Anderson’s wife joins the keeping of secrets club by denying she has
any knowledge surrounding her husband’s death. Given the times she is most
likely acting out of shame and also attempting to protect her husband’s
reputation. The President is on a military vessel, symbolizing his position as
Commander in Chief, but he is also in his bathrobe, reflecting how he is at the
end of his mission, ready to retire from his service to his country. Munson
tells the President that he believes Van Ackerman is behind what happened based
on how he led an onslaught of attacks against Anderson. Munson urges the
President to withdraw Leffingwell’s name since there will be allegations that
he was involved in what happened to Anderson. In a way the President is, since
he was defiant in not withdrawing Leffingwell, despite knowing that the man
lied to Congress. and thus placing Anderson in a terrible position. The
President wastes no time to mourn for Anderson, and, in fact, sees a clear road
now to get his pick approved without Anderson blocking it. The noble and
empathetic Hudson says, “I wonder if Leffingwell or any one man is worth all of
this,” which means he objects to the fallout from political willfulness. But
the President is dismissive of Hudson. Alone with Munson, the President says he
doesn't have much time left and he needs Leffingwell to carry on what he has
built in the area of foreign policy, which he feels will fall apart otherwise.
Munson disagrees that Hudson can’t do the job, but the President says he
doesn’t “have time to run a school for presidents.” But he does have doubts
about the job he has done. Munson earlier said he has known the President for a
long time and the man led the country through several crises. Munson sees that
his friend needs reassurance at this dark time and says to him he was one of
the great presidents.
Cooley is waiting for Munson at the latter’s
hotel. Just like the President, Cooley is not pausing his political maneuvering
to respect Anderson’s passing. He admits to Munson that he knows about Fletcher
and is ready to expose everything. The politically savvy Munson can see the
puppeteer’s strings and knows that Cooley was using Anderson as his proxy to
make a deal that would cause Leffingwell to be withdrawn without the President
or his party being embarrassed by the nomination of someone who had a
flirtation with communism. Now, since the President thwarted his earlier
attempts of removing Leffingwell, Cooley threatens to blow the scandal wide
open. But he is willing to make a deal. He asks Munson to, “Turn your votes
loose, and I’ll keep my mouth shut.” He is willing to be silent, even if
Leffingwell is confirmed, as long as each senator can vote his own mind without
capitulating to the party’s orders, something not seen in Congress lately. Munson
in the moment, probably because he is angry about Cooley’s tactics, refuses.
The subcommittee, with nothing holding it back,
recommends that the whole Senate confirm Leffingwell’s nomination. In a
surprising move, Cooley addresses the Senate and confesses to acting out of
vindictiveness concerning Leffingwell and apologizes for it. He still will vote
against him on the merits. He feels Leffingwell’s “voice” is an “alien” one to
him, which does not meet his standards regarding the country’s “pride” and
“dignity.” But, he does not ask any senator to feel obligated to follow his
lead. Munson says he feels Leffingwell sounds a practical voice, not an “alien
“one, and he trusts the President for choosing the man. But Cooley’s honorable
action plays forward. Munson defies his political allegiance to his party and
president, and he releases those who pledged to vote in favor of the nominee.
The film seems to be saying that decency can give birth to more good deeds. The
death of Anderson also is acting as a cautionary warning about not respecting
the limits of ethical behavior.
Munson calls for the vote to take place,
stopping the angry Van Ackerman from opening up a debate. Munson also lets Van
Ackerman know that they know he was the one who tried to blackmail Anderson,
and Munson will expose him if he tries to hinder the nominating process
further. He tells Van Ackerman that he has brought dishonor to the
congressional body, which will not be tolerated. Van Ackerman tries to justify
his actions in the name of patriotism, but his ends-justify-the means mentality
is a threat to democracy, which is echoed by Munson, who says, “Fortunately,
our country always manages to survive patriots like you.” Van Ackerman is
filmed as a lonely man walking slowly through the chamber, distanced by the
others, and he leaves in a virtual banishment.
The President appears increasingly ill as he
listens to the vote in the White House, and collapses and dies. The vote will
be a tie since Smith surprisingly votes “no.” The Vice President will be the
tie-breaking vote. But Hudson is informed of the death of the President. Secret
Service men enter the Senate to protect Hudson who is no longer the President
of the Senate, but has ascended to the high office of the Presidency of the United
States. He can no longer break the tie and the nomination is disapproved. There
is a solemn but smooth and dignified transition of power as President Hudson
tells Munson that he will appoint his own Secretary of State. Cooley is now the
President Pro Tem of the Senate and the legislative body adjourns out of
respect for the loss of the country’s leader.
The story ends on a sad but high note as the
nation’s “better angels,” as Abraham Lincoln coined them, prevail.
The next film is The
Last Hurrah.
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