This film doesn't believe in patriotism. It believes in jingoism. It believes is sloganism. It believes in the media as God. It has no heart, no soul, no belief. It's frightening.

It's hard to believe that the Hollywood heads behind this film would allow it to have such a elliptical title. This is a political satire of the highest order but without any slapstick or lunacy until the final reel. It's a ridiculous indictment of the American populace as ignorant, sentimental, television addicted morons who will accept anything the media says. It's head may be on straight, but it's heart is way out of whack. This film spits in our eyes and laughs at our purported ignorance but does so in such a manner as to almost make it work. It's one of those, if your smart enough to get it you don't thinks it's about you - but if you don't get it then it probably is about you so no wonder you don't get it -kind of films. Only fools such as myself, who are sentimentalists that still believe in truth and freedom and democracy and the American people yet are smart enough to know we are fools to do so, that will truly be hurt by this film. It's a diatribe of intellectual and political stings soothed by smarmy sugary Hollywood salve.

Only David Mamet could have fashioned such a work. It's cerebral nature and it's deep dark satire border on a black hole. The paradox and the overwhelming irony of the script is practically subjugated by the plot which seems plausible and, even, likely. This is the true frightening thing about the script. It shows us for the suckers we are without outright calling us suckers.

Director Barry Levinson, who shot the piece in 29 days, uses Robert DeNiro (who produces the piece with Levinson) as his antagonist, if you will. He plays his character, of a political spin doctor, against Dustin Hoffman, a Hollywood producer of the old school. Hoffman has a blast with his role while DeNiro seems to revel in the subdued aura of a non- threatening bad guy. He is the bad guy here and even he doesn't seem to know it. DeNiro, like Mamet's script, does not question this man. There is no morality, no consciousness, no heart, no thought, only intellect and political savvy.

Also along for the ride are Anne Heche (trying too hard for laughs), Denis Leary (breaking no new ground but funny), Willie Nelson (in a role as sublime and as intricate as Hoffman and DeNiro's), Andrea Martin (also breaking no new ground but funny), Kirsten Dunst (in a nice small role), William H. Macy (in another small role that is perfectly cast), Craig T. Nelson (in a surprisingly good cameo), Woody Harrelson (who turns the piece to slapstick), and, in cameo mode, Harland Williams, Pop Staples, Drena DeNiro (gate stewardess), James Belushi, Michelle Levinson (Faye), and Jay Leno. Meanwhile, the almost not-seen President is played by Michael Belsen.

Levinson's true genius here is presenting the film against a backdrop of believability. We are taken deep into the White House, into a recording studio, into Hollywood, to a soundstage and it all looks and seems real. Levinson's wisest decision is scoring all of this against a wonderful, almost folksy, soundtrack by Mark Knopfler. It's the perfect accompaniment.

"Wag the Dog," which could just have easily come from Robert Altman or John Schlesinger, may be biting satire and black comedy at it's most distressing, but mainly it is simply disquieting. We don't want to see ourselves in this light. This is not, in my opinion, an adequate picture of American public and the American system of government. Maybe it's supposed to be a cautionary tale. I think it's supposed to be a rude, mean-spirited poke at all of our patriotic sensibilities. And while, as a film, it is excellent, I still can't help but think; Shame on you Mr. Levinson. Shame on you, too, Mr. Mamet.

Notes.

Based on the book "American Hero" by Larry Beinhart. Screenplay is by Hilary Henkin and David Mamet.

Review written in 1998

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