I finally got around to watching writer-director Adam McKay’s Vice on Amazon Prime. I’d been eagerly anticipating a viewing ever since the first trailer came out but just never had the chance to catch it at the theater. I was overjoyed when my wife and I had a couple of hours to spare for a movie at home and she suggested watching it. And so we watched it.
And what a massive disappointment.
Vice is a rambling, chaotic mess. It can’t seem to decide what kind of story it wants to tell about Dick Cheney. There isn’t anything revealed about him that is particularly surprising or insightful, other than perhaps his wayward youth. (Something he has in common with George W. Bush.) Cheney was apparently something of a ne’er-do-well who lived under constant threat of abandonment by his wife, Lynne. It all changed, at least according to the film, when he went to work as an intern in Washington, D.C., and he happened to hear a welcome speech by a U.S. congressman from Illinois named Donald Rumsfeld. That was when Cheney decided that he was a Republican and wanted to spend the rest of his life in politics.
Some of the episodes of Cheney’s life that the film chooses to delve into seem a bit odd to me. Yes, it goes into the 9/11 attacks and his immediate push to at least partially blame it on Iraq, but it barely touches at all on his time as secretary of Defense under Bush Sr. Cheney was instrumental in pushing the U.S. into war against Iraq the first time as well, and under just as patently false pretenses as those that were offered for the second Iraq war. One of the most egregious humdingers was the claim that classified U.S. intelligence surveillance photos revealed that hundreds of thousands of Saddam’s forces were amassed along the Saudi border. That’s what convinced the Saudis to allow their country to serve as a base for the U.S. and its allies, from which they would launch their “Operation: Desert Storm.” (Osama bin Laden later cited the continued U.S. military presence on Saudi soil after the war’s end as one of his main beefs against America.) No such surveillance imagery has been confirmed to this day. It was simply a lie.
It goes completely unmentioned in McKay’s film, however. Instead, he spends time on Cheney’s efforts, in collaboration with anti-tax activist Grover Norquist, to roll back the estate tax. I don’t know, if I were making a movie about Dick Cheney, I would find Cheney’s manipulating the country into a war far more dramatically compelling than a subplot about tax policy, but maybe that’s just me.
McKay deserves some credit for at least making some attempt to humanize his subject, such as Cheney and his family grappling with his daughter Mary coming out as a lesbian at a time when social acceptance of homosexuals was not nearly as common as it is today, not to mention the political implications for Cheney in light of his conservative constituency. The film depicts him as being rather forward-thinking and unconditionally accepting of Mary as she is, and McKay understandably sees this as one of his subject’s redeeming qualities. But it seems almost tacked onto the film as an afterthought, as though somebody forced McKay to mention at least one thing about Dick Cheney that he found positive.
As far as Christian Bale’s performance is concerned, it looks like he got an Oscar nomination for doing an excellent Dick Cheney impression.
Any good biographical film should seek to understand its subject, to try to find out what makes him tick, how he sees the world and his place in it. I can’t say that I gleaned anything of the sort from Vice.