Cinema loves politics, particularly during the 1970s. There was something about this specific era that brought out the best in filmmakers with an interest in the subject. Perhaps it was the tumultuous real-life political landscape, with the height of the Cold War causing much strife, even in the domestic lives of ordinary citizens, and events like the Watergate scandal proving that reality is often more deranged than fiction could ever hope to be. Whatever the reason, New Hollywood embraced the world of politics, and while most of their projects were more sobering, serious works, there have been a fair share of tremendous comedies that take aim at the political establishment, whether those on the left or the right (or in the case of the best works, those that are squarely in the middle as well). Michael Ritchie and Robert Redford, who had previously worked together quite successfully, reunited to make The Candidate, one of the most insightful and funny comedies ever made on the subject of politics. A scathing satire with a heart of gold and an even more enduring sense of humour, this film is something to behold, its message being potent and the execution one of the most intricate in the history of politically-themed films. There were many elements that went into the creation of this film that makes it so profoundly special, whether it be the strong writing that captures the intricate details of the political system, convincing lead performance from arguably the industry’s most charismatic young actor or the general atmosphere that is so wonderfully-constructed in conveying the darker message at the heart of the film, we can’t help but be drawn into this world, which is carefully pulled apart to allow even the most apolitical of viewers to derive entertainment from this film.

Any film that can take something as intensely convoluted as a political election and make it accessible is immediately going to be worth its weight in gold, which is very much the case with The Candidate, which is extremely approachable and rarely ever condescending, even to those who don’t have much working knowledge of how politics works. Part of the brilliance comes in the fact that this film was written by Jeremy Larner, who was personally selected by Ritchie and Redford to put the screenplay together, as a result of a laborious search to find the right authorial voice to bring on board to tell this story. It required someone who was more than just a screenwriter willing to do some extensive research – it needed someone with experience and a deep understanding of this particular area. A former speechwriter, political analyst and Washington insider, there were few people more qualified to write this film than Larner, whose only challenge was actually turning his wealth of knowledge into a narrative film. He brings unexpected insights to the film, which could’ve only been garnered through having been through the process and having firsthand experience to the inner machinations of the political system. Working closely with the director and the film’s star, Larner channels his raw wisdom relating to political shenanigans into the fascinating glimpse into the various levels of manipulation and deceit that tend to become a part of a campaign – and this is relating to those politicians who have some degree of morality behind their attempts to make it into office. The Candidate is a wildly funny political odyssey that benefits massively from the presence of a writer who brought a deep understanding of the system being satirized here, adding a layer of authenticity to what was already a very meaningful and insightful comedy about very serious matters.

It’s very likely the main attraction to The Candidate is the presence of Robert Redford as the film’s main character, the titular candidate running for a seat in the California senate, which is all but assured to be going to his Republican opponent. Made during the period in which the actor was inarguably at his peak in both skill and popularity (at least as a movie star – forthcoming decades would see Redford venture both into directing and more character-based acting), this film draws us in with the irresistible promise that we’ll be getting two hours of Redford on screen, which is more than enough to satisfy any viewer. It’s difficult to think of many actors of his generation with the same degree of magnetism that Redford possessed – his charm and unforgettable swagger made him an absolutely essential player in the New Hollywood movement, which rarely failed to showcase the full scope of his talents, even in films that are not particularly good. Undeniably, the success of The Candidate depends entirely on Redford, whose spirited performance and ability to charm us, even when playing an intentionally vacant character who acts as the puppet for the Democratic institution, are integral to the film and single-handedly make it worth every moment. It’s not the finest work of his career, nor is it even the best work he made during this era, but The Candidate contains a fascinating experiment by Redford, who surrenders to the fact that the film was banking on his presence more than anything else, with his personality and star-quality being vital to the film’s success – and it’s difficult to blame Ritchie for prioritizing the process of highlighting what an enormously charismatic actor Redford was, and how much be brought his inherently magnetic personality to this film. It’s a risk that paid off beautifully, since the actor is doing absolutely exceptional work, far more than we’d expect just looking at the premise.

In fact, one of the qualities that makes The Candidate so brilliant is this same sense of looking at how a personality is defining of an individual, especially those who aim to seek out leadership positions at different levels. Every time there is a major election in any part of the world, there will be a discussion on the concept of the “cult of personality”, where someone will curry favour and earn legions of supporters, not necessarily through their actual actions or promises, but purely as a result of the charisma that they positively exude. We’ve seen many leaders elected solely on the basis that they were persuasive orators and had a special quality that made them stand out – and in casting Redford as a character that defines this very idea, and placing him in contrast with the embodiment of the dry, humourless and unexciting establishment (here embodied by Donald Porter, who was a tremendously good sport in playing the dull counterpart to Redford’s energetic and youthful politician), the film manages to plumb through an endless array of potential situations, engaging with many of them in a way that most political satires tend to struggle, the intelligent screenplay clearly being the work of someone who understood this world inside and out, and was willing enough to impart his knowledge in a constructive and meaningful way. This is not a surface-level film, insofar as it refuses to look at politics through just a cursory glance at the subject matter – it digs deep and extracts some very meaningful commentary that is both amusing and unexpectedly sobering, forcing this film to be constantly in flux, oscillating between amusing dark comedy and hauntingly honest drama, the two working in conjunction to create this distinct image of the political process.

The Candidate is just about as sharp a political satire as one can get, with the pointed commentary and perpetually acidic tone working in conjunction with the intricately detailed portrayal of the process that those seeking office need to go through in order to realize their ambition. As this film demonstrates, it’s not only the legal and bureaucratic process that factors into the process, but the additional activities essential to an election – the canvassing, the literal “hand-shaking and baby-kissing”, and the frequent interactions with a variety of individuals (each one possessing a different kind of power that could potentially make or break one’s path to a position of leadership), that a prospective politician will find is absolutely essential on their path to elected office. This film offers an insightful glimpse into the process, framing it through the perspective of a young man who is running for office, without even actually wanting to be elected, but rather acting as a pawn for those who already wield the power, and just need a puppet to act as their mascot. This film is blisteringly funny, composed of numerous absolutely outrageous scenes that point to both the complexity and hypocrisy of the government system, which is subsequently filtered through a documentary-style approach, where every detail contained in this intricately-woven comedy is unravelled and serves as the subject for the often brutal evisceration of politicians and the people behind the scenes who continue to enable them. Nearly half a century later, The Candidate is just as potent and relevant today as it was at the time of its release – and whether you view this as a positive (since it shows consistency in the political system) or as a negative (as a way of demonstrating how history tends to repeat itself), it’s difficult to deny the raw brilliance of this film, which evokes laughter, provokes discussion and even stirs a bit of controversy, being a comedy that is somehow both a product of its time, and far ahead of it.