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15 December 2011updated 27 Sep 2015 4:03am

The rise of the political biopic

Why do we want to see our political figures on the big screen?

By Rebecca Lloyd

Political biopics have always been popular. The past two decades has seen film chronicle the lives of President Kennedy in JFK, Ugandan dictator Idi Amin in The Last King of Scotland and human rights leader Malcolm Little in Malcolm X, among countless others.

In an age of political dissent and dissatisfaction with governments world-wide, the political biopic is flourishing. Already released this year is J. Edgar, the biopic of the first head of the FBI, J. Edgar Hoover. Next year will also see the release of the Margaret Thatcher biopic The Iron Lady and two major presidential biopics: Lincoln, starring Daniel Day Lewis as Abraham Lincoln, and Hyde Park on Hudson, starring Bill Murray as Franklin D Roosevelt.

Aside from the fact that politics makes for gripping drama, why is looking to history’s iconic leaders becoming so popular? Biopics are not a source of political truth – they often obscure elements of history, ignore social relationships and distort important facts. The truth is subject to the imagination and artistic direction of the screenwriter, the actors and the director. In many cases, as film critic Ronald Bergan points out, the stars of political biopics “have substituted their own personalities for those of the persons portrayed”.

Political biopics must tread carefully. There is the danger that a two hour film makes a bloated attempt to pin the protagonist to the psychiatrist’s couch or tries to unearth a childhood trauma in an attempt to reveal some sort of psychological epiphany. In an effort to avoid this, Hyde Park on Hudson is instead told through the eyes of Daisy Suckley, Roosevelt’s distant cousin and confidante.

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They are also at risk of trying to cram as many details and events of the person’s life into the film as possible, resulting in a directionless and uninspiring film. It is unnecessary and frankly rather boring to watch someone’s life unfold from cradle to grave – famous or not. Frost/Nixon avoided this pitfall by only focussing on the post-Watergate interview given by the disgraced president, rather than rehashing his whole presidency or, indeed, his entire life. Similarly, Spielberg’s Lincoln will focus on the final few months of Abraham Lincoln’s life.

A good political biopic must also avoid glorifying the protagonist and ignoring their flaws and weaknesses. The key to the success of a political biopic lies in its ability to portray a humanised version of a seemingly stoical political figure. Despite Meryl Streep’s storming performance as Thatcher in The Iron Lady, she is arguably too likeable in comparison to the lady herself. In addition, biopics that portray the protagonist as merely fulfilling their destiny are equally unappealing. All men and women are mortal and fallible and a biopic that implies someone is otherwise is both unrealistic and trite.

However, many biopics do the opposite and instead paint the political figure as a monster – a caricature of themselves. Oliver Stone’s George W Bush biopic W does just that. Granted, he may be one of America’s most unpopular presidents as a result of the war in Iraq, and has made more gaffes than Republican presidential hopeful Rick Perry, but the soap opera-like film glosses over Bush’s immense popularity when he first entered office. Perhaps because of the lack of aesthetic distance due to Bush being an incumbent president at the time of the film’s making, Stone chose to capitalise on the mood of the nation and paint Bush as totally one-dimensional with a complete lack of self-understanding.

Far from revealing a benign truth, a political biopic should seek to provide intimate insight into a real human being. Their surge in popularity is arguably a reflection of society’s desire to see our political figures in real terms and thus avoid the tendency to label them as simply good or bad; wrong or right. Frank Cottrell Boyce, the British screenwriter responsible for 24 Hour Party People, sums it up nicely: “It’s important for biopics to challenge the idea that there’s a fixed interpretation. There might be a definitive truth about the partition of Poland, but not about a human being.”

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