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Film Review
Nothing cold about it: 'Frost/Nixon' reveals the power of confession
Richard Nixon is the only president in the history of the United States to resign from office. He is not the only one suspected of being involved in a scandal, but he is again alone as the only president who confessed his errors to a British television host and by extension, the world.
This drama is where “Frost/Nixon” (Universal Pictures) picks up the story. The film doesn’t let go of the audience until the confession finale.
“Frost/Nixon” is based on a play written by Peter Morgan. The playwright adapted the script for the film and director Ron Howard brought the two leading actors from the play version of the film to the silver screen. Frank Langella plays President Richard Nixon and Michael Sheen plays British talk-show host David Frost.
The film views like a play on a movie screen. The focus is on the actors and the direction, both of which are excellent and make the film deserving of every bit of praise it is sure to receive.
In the opening minutes of the film, the audience sees David Frost watching Richard Nixon on television as he leaves the White House the day after his resignation. It is at that moment that Frost decides to pursue an exclusive interview with Nixon for more than half a million dollars. Frost struggles to secure funding, but after putting together a team of a producer and researchers — played perfectly by Matthew Macfadyen, Sam Rockwell and Oliver Platt — begins to prepare questions for the former president in what he hopes will result in a confession about the criminal suspicions for which he was pardoned by President Ford.
The premise of the film is simple, and history has already written the finale of this true story, but where “Frost/Nixon” really shines is in the study of the two men at the heart of the story. Frost and Nixon develop a relationship of sorts as they proceed in the interview process, discovering the weaknesses of one another and using them against one another while at the same time fostering a kind of respect as adversaries.
Eventually Frost becomes a confessor for Nixon. He accuses the former president of crimes, but then carefully encourages him to confess so that he can provide an apology to the country and gain personal peace and closure.
This message is one that will not be lost on Catholic viewers who are familiar with the sacrament of reconciliation.
“The confession (or disclosure) of sins, even from a simply human point of view, frees us and facilitates our reconciliation with others,” according to the Catechism of the Catholic Church. “Through such an admission man looks squarely at the sins he is guilty of, takes responsibility for them.”
Nixon finally confesses that he made mistakes and regrets his moments of poor judgment. It is clear that in doing so he finds freedom to move on with his life.
“Frost/Nixon” makes it obvious that it is not enough just knowing that you did something wrong, you must confess these sins before you’re able to reconnect with the community, world — and in Nixon’s case, the country — around him.
The acting is the high point of the film. The dialogue is witty, fast and often very funny. Part of the chemistry between the performers that jumps off the screen is due to the precision with which “Frost/Nixon” is directed. Howard makes it clear that Nixon’s greatest threat was not David Frost, but his continual enemy, the television camera.
The David versus Goliath motif is played up to a level that borders on the cliché, but the relationship that develops between the two men — and is acted convincingly by Langella and Sheen — diffuses this dynamic.
Media critic Rebecca Bostic is a regular contributor to The Catholic Sun. Comments are welcome. Send e-mail to letters@catholicsun.org.
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