Perhaps it’s less appropriate to judge John Sayles’ new film by the standards of film criticism then to ask the larger question: is the film an effective piece of propaganda in the guise of narrative film? Silver City, which is clearly designed to unseat the current American administration, transparently places the viewer directly in the center of a central argument, its thesis being the absolute disenfranchisement of the American people by the controlling and controlled powers of the state.
The film presents a parallel universe of current life, replete with humour, biting criticism and excellent satirical material, all of which would be much funnier if it didn’t scarily resemble contemporary American society quite so much.
The story takes place during second-generation politico (and former drunken frat boy) Dickie Pillager (2002 Best Supporting Actor winner Chris Cooper)’s run for the Colorado Senate. When a human corpse washes ashore in the idyllic setting of the candidate’s staged political ad, it unleashes a series of events and a case led by washed-up investigator Danny O’Brien (Danny Huston). O’Brien is hired by the campaign itself, and Pillager’s handlers ask him to talk to Dickie’s potential enemies and tell them to stay away. From here the film follows the investigator’s path through the vast network of friends and interests that make up the spine of Colorado’s elite.
In its unabashed proposal of a vast web of conspiracy, the film treads a very fine line. At times it is difficult to watch because its portrait is so distinctly partisan, and its entry into the heated climate of debate of the upcoming election limits the scope of its effect. Since Silver City is designed specifically for this particular moment and rewards the opinions of a certain type of audience, the scope of its reception is limited as well. One gets the impression that it is the kind of work that is part of a further polarizing process-one that will merely gratify those with similar opinions, and further alienate those without.
Whatever its shortcomings, however, the film is an extremely interesting piece, particularly in the way that it presents an alternative account of the “official story” of George W. Bush and his cult of personality. Here Sayles uses all the facts available to anyone who looks beyond the media’s account of history and comes to a different conclusion. Without these facts the film could be considered merely a left-wing rant on democracy and the lack of direct power that has been co-opted by corporate America.
But because it’s so self-reflexively ironic, the film defuses much criticism by being quite specifically what it claims to be-namely, a device in the public arena designed specifically to unseat the current president (or at least a heroic attempt).
Chris Cooper is Sayles’ secret weapon in the way he presents his imitation of the president-a puppet with a good heart who can only memorize bite-sized chunks of information and who strays wildly if left to his own devices. In other words, someone who is perfect to represent the interests of those who are going to put him in office: the spin-doctors, religious interests, land developers, and evil corporate magnates.
What the film lacks in artistry, it more than makes up for it in its convincing argument-which on one hand makes it a far more effective piece of propaganda than it does a good film. One suspects that the film as an individual work will end up getting absorbed into the current litany of films being released, including Team America: World Police, Going Upriver: The Long Journey of John Kerry, and the now infamous Fahrenheit 9/11. These are all strong films, however, and Silver City holds its own among them. Sayles has always had a strong streak of social consciousness in his work-whatever one may make of his politics, his knack for turning a lens on the American condition continues.
