The Apprentice, Revisited: Donald Trump’s Immoral Creations

The one element of cinema that The Apprentice emphasizes is the acting. The film is a dramatization of Donald Trump’s rise to power in the 1970s and 1980s and features a cast of characters including members of the Trump family and prominent New York politicians and socialites, including lawyer-fixer Slash Roy Cohn, whose mentorship Trump is. , offers an explanation for the film’s title. The actors playing these roles, including Sebastian Stan, as Trump, and Jeremy Strong, as Cohn, provide a kind of litmus test for the performance styles and for the power (or failure) of the composition’s visual elements to emphasize them.

The film, directed by Ali Abbasi and written by Gabriel Sherman, begins with Donald, about twenty years old (it’s good to call the characters by their first names to distinguish them from real people), struggling with a serious case of suburban syndrome. He works alongside his father, Fred Trump, Sr. (Martin Donovan), and manages Trump Village, a middle-class apartment complex on Coney Island. Donald’s job is dirty: he goes door to door collecting rent, often in cash, threatens eviction and faces insults and even physical attacks from tenants. He mainly wants to become a real estate player in Manhattan and is starting big, with a project to renovate the Commodore Hotel, next to Grand Central Terminal. There is a certain vision behind his greatness: New York City was in dire financial straits at the time and was widely considered to be in irreversible decline, but Donald was confident that the city would recover and that he could contribute to New York’s recovery York. to his greatness.

Donald’s idea of ​​New York was Manhattan, bright lights, actors and actors, and he desperately wanted to be part of high society. Admitted to the selective private restaurant and nightclub Le Club, Donald was seen as a relative person there. But, the film suggests, after a disastrous date he was nevertheless spotted sitting alone by one of the club’s most prominent members, Roy Cohn, who invites the awkward young wrestler to his party table and introduces him to two mafia kingpins who are also sitting at the table. there. Donald explains that he works in real estate (and is annoyed when he is identified as Fred Trump’s child) and says the company is in trouble because of a federal lawsuit alleging racial discrimination in the selection of tenants of Trump properties. Roy gives unsolicited advice: fight back, let the government work, don’t concede anything. When unresolved allegations threaten to derail Donald’s deal with the Commodore, he recruits Roy to officially represent the company in court.

In the film, Donald’s success and his fall into moral disgrace are linked by the bare-knuckle tactics Roy uses to help him build his fame and fortune. Donald, a worthy student, ultimately lives his personal life in an equally ruthless manner. Donald is in constant contact with women (Roy tells him: I bet you fuck a lot) and nevertheless has a romantic side; When Ivana Zelnkov (Maria Bakalova) arrives at the Club, he quickly moves from flirting to making out. But when he tells Roy he is going to marry her, Roy first scoffs and then insists that Ivana sign a prenuptial agreement that all but ends the engagement. It is an example of Donald Queens’ provincialism that, although he is a figure in the city’s nightlife, he idealizes the institution of marriage and the lifelong union of his parents, Mary (Catherine McNally). and Fred, Sr.

Sherman, a journalist, delves into the practical aspects of Donald’s affairs and their political context, which are by far the most striking aspects of the film. In the courtroom for the racial bias case, Roy shows nerve of comic dimensions, as when he challenges the black investigators’ mention of white tenants, arguing that the witness cannot guess their race based on their appearance. But this show of daring is small compared to how Roy blackmails a federal official who filed the lawsuit. Facing the official in a restaurant (and in Donald’s presence), Roy shows him photos suggesting an extramarital and homosexual relationship, and reminds him that homosexuals do not have access to federal employment. Soon after, the Trumps got away with a slap on the wrist and the Commodore deal was done. Roy confides in Donald his operating principle, a sports analogy: play the man, not the ball. Roy leads Donald to his playroom, which is full of audio equipment, and teaches him how to do just that: plant microphones when he has sensitive conversations with potential opponents, and then use his clandestine recordings as central weapons in his battle against them. What Donald learns from Roy, as Donald says, is that there are two kinds of people: killers and losers; Ivana doubtfully wonders: It’s good not to be a murderer, right? But Donald adopts Roy’s three rules as his own: attack, attack, attack; admit nothing, deny everything; and always claim victory and never admit defeat.

Throughout the remainder of the film, Donald demonstrates his mastery of these methods in a ruthless and brutal series of betrayals, disloyalties, and atrocities. Roy draws her into a world of corrupt power that proves irresistibly seductive, welcoming her to a party he throws with the joking declaration: “If you get indicted, you’re invited.” Among the friends Roy introduces Donald to are George Steinbrenner (Jason Blicker), Rupert Murdoch (Tom Barnett) and Roger Stone (Mark Rendall). But when Roy warns Donald not to invest in Atlantic City’s casinos, Donald quickly turns on him and drives his mentor into virtual exile, hurling verbal insults and inflicting practical humiliations. Donald treats Ivana with the same contempt and then rapes her. (The real Trump, like the real Ivana, claim that no rape ever occurred.) As gruesome as the scene is, it has little practical consequence in the film, as Ivana has little independent existence in her, but there is a telling exchange: too good to waste, between her and Roy, hinting at the depth of her despair. When Donald’s troubled brother Fred, Jr. (Charlie Carrick), called Freddy, who was an alcoholic, died in 1981, the loss passed on to Donald without even a shadow. The Apprentice locates the root of the two brothers’ pathologies in Fred Sr.’s laconic and concrete cruelty.

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