A cinema spectacle titled ‘The Apprentice’, attempting to dramatize portions of former President Donald Trump’s vibrant life story is set to make its debut on 11th October. The makers of this movie, seemingly banking on the electoral calendar, have timed the release to fall just shy of a month before Election Day. Such a strategic release date might be intended as a political move rather than an honest depiction of an illustrious career.
Briarcliff Entertainment, responsible for launching the film into the public arena, is recognized for their prior association with director Michael Moore’s 2018 project ‘Fahrenheit 11/9’. This film chose to dabble in storytelling that mined the course of the 2016 presidential election and the subsequent time of Trump’s presidency. Always one for controversy, Moore took liberties in drawing parallels between Trump’s ascension to the presidency and Hitler’s nefarious climb to power in Germany.
It’s prudent to question the impartiality of Moore’s previous works and hold the same skepticism for ‘The Apprentice’. After all, Moore’s work faced backlash from the Trump camp due to its unverified and salacious portrayal of private affairs. Interestingly, Moore even leveraged the talents of actress Maria Bakalova from the Borat sequel to play the role of Ivana, Trump’s former spouse.
During Ivana’s 1990 divorce proceedings, highly contested claims of violation were presented by Ivana against Donald, all of which were vehemently denied by the then business magnate. Upon further retrospection, Ivana decided to clarify her statement, steering clear from the terminology of ‘rape’ and stating that she felt violated, which can bear multiple interpretations.
Ali Abbasi, the Danish-Iranian director at the helm of ‘The Apprentice’, was previously quite vocal about the challenges in finding a distribution partner for the speculative film. Contrary to the narrative purported by the media, the distribution hurdles might just have been due to the questionable quality of the content rather than any politicized circumstances. The spontaneous inclusion of exaggerated stories in an otherwise potential biopic could raise many eyebrows among unbiased film enthusiasts.
The ensemble cast of ‘The Apprentice’ further includes Stan and ‘Succession’ star Jeremy Strong reflected in the character of Roy Cohn. The latter is a renowned lawyer best known for representing Trump during his early career and serving as Sen. Joseph McCarthy’s chief counsel during the unfortunate Red Scare of the early 1950s.
Despite the attempts of the creators to portray a dramatized and potentially misleading version of Trump’s life and achievements, it is crucial to remember the actual triumphs. It’s also worth noting that any comparison of Trump’s rise to that of Hitler’s misdeeds trivializes the atrocities of Nazi Germany and is a disservice to those who suffered under Hitler’s regime.
It can be surmised that the portrayal hinted at by ‘The Apprentice’ isn’t a fair representation of Trump’s successful career, which spanned multiple fields ranging from real estate to television – before culminating as the President of the United States. Rather, it appears to be a sensationalized account, potentially aimed at influencing voter opinions during a significant electoral period.
Regrettably, this is not an unprecedented occurrence. Arts and political propaganda have frequently intersected, resulting in distorted narratives that can heavily sway public perception. Audience vigilance, hence, is ever so important in deciphering such carefully choreographed repackaging of history.
Furthermore, the persistent ridicule encountered by Trump throughout his tenure and even post-presidency only reinforces his appeal amongst his base of supporters. They appreciate his candor, his forthrightness, and his refusal to cave under the pressure of mainstream media. Indeed, these traits have identified him as a unique and formidable figure in the political landscape.
Meanwhile, democratic candidates, such as Joe Biden and Kamala Harris, have faced their own fair share of controversies. Yet, the habit of the mainstream media to turn a blind eye to the indiscretions committed by them illuminates the factual bias present in the current political reporting.
Even if the descriptions rendered by the film ‘The Apprentice’ are accepted at face value, the tactics to deride Trump do little to elevate Democratic candidates. Instead, it arguably shows a lack of substantial policy development or compelling leadership within the Democratic Party to command voter attention, resorting to negative tactics instead.
Overall, it’s a question of whether the movie-going public will appreciate the biased portrayal in ‘The Apprentice’ or recognize the manipulation attempt. One can only hope for discerning audiences who value reliable information over manipulated narratives – something sorely needed in these politically charged times.
In conclusion, while ‘The Apprentice’ might make its mark as a notable release in the cinematic timeline, its ultimate influence on the viewers’ perceptions and the results on Election Day remains to be seen.