Hollywood Reporter – The actors play Donald Trump and Roy Cohn, respectively, in Ali Abbasi’s film, which had its North American premiere at the Telluride Film Festival on Saturday night.
The Apprentice, the Donald Trump origin story that everyone in the film community and beyond has been talking and speculating about, had its North American premiere at the Telluride Film Festival’s Galaxy Theatre on Saturday night. The stateside unveiling comes three months after its world premiere at the Cannes Film Festival and just days after Briarcliff Entertainment acquired its U.S. distribution rights amid legal threats from the Trump campaign, with plans to release it in theaters on Oct. 11, less than a month before the presidential election.
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Interest in the film among those who missed it on the Croisette has been through the roof, to the extent that Telluride’s 10 p.m. Saturday night screening — which was added to the fest’s schedule only a few hours before it took place — attracted a full house of 500 people, with many others turned away. Post-screening reactions were, not unexpectedly, divided. But my own impression from finally seeing the film (I had to return from Cannes before it screened there), and the degree to which the people who like it really like it, is that it should not be counted out of the awards race — particularly its lead actor Sebastian Stan, who plays young Trump, and its supporting actor Jeremy Strong, who plays the man who became his consigliere, Roy Cohn.
The Apprentice was written by Vanity Fair’s longtime Trump chronicler Gabriel Sherman and directed by Border and Holy Spider helmer Ali Abbasi, in his English-language film debut. It covers the period from 1973, when New York businessman Trump, then 27, first crossed paths with power lawyer Cohn, through 1986, shortly after Cohn died (under circumstances that you should not Google if you don’t already know them), and shortly before the publication of The Art of the Deal, the book that helped to elevate Trump from a braggadocious businessman to a full-fledged celebrity.
Trump supporters have assumed that the film would be a Hollywood hit job. That’s partly because most of them have heard only about a brief scene in which Trump is shown forcing himself on his first wife, Ivanka (Borat Oscar nominee Maria Bakalova), which, in fact, is based on an accusation that Ivanka herself made and then, perhaps under pressure, recanted. But the truth is that The Apprentice — which opens with a disclaimer that a few aspects of its story are imagined, but the vast majority of it is documented — is not some mocking caricature of Trump; it’s actually a portrayal that some Trump haters will find too sympathetic.
It is neither a puff piece nor a hit job, but is, as the Iranian-born Dane Abbasi said during his pre-screening introduction, an outsider-to-America’s effort to hold up a “mirror” to our society and force us to look at it anew. It shows the man who would become president as a young, handsome, charming and promising businessman, as well as someone who was emotionally damaged by his father, steered down a dark path by Cohn, and, consequently, became vain, selfish and occasionally very cruel.
Stan nails Trump’s look, mannerisms and unusual way of speaking — which must have been a daunting assignment, given how many other people have done impersonations of Trump — and Strong captures the dead-eyed look and coiled-snake physicality that Cohn possessed going back to his early years as Joseph McCarthy’s henchman.
One doesn’t have to like a character — or even a film — to appreciate an actor’s guts and abilities. Indeed, in recent years the Academy’s actors branch has nominated numerous impressive portrayals of polarizing people in polarizing movies — among them Megyn Kelly, Richard Nixon, Tammy Faye Bakker, George W. Bush, Lynne Cheney and Dick Cheney, and J.D. Vance’s grandma, none of whom are particular favorites of the Hollywood community.
The Apprentice’s distributor, Briarcliff, is relatively new to the scene, but its chief, Tom Ortenberg, is not new to the awards game, having overseen, during his days at Lionsgate, the campaign for Crash, and during his days at Open Road, the campaign for Spotlight — both of which went on to win the best picture Oscar. He has also already retained a number of highly capable awards consultants to help execute a push for The Apprentice. And the talent behind the film is on the ground at Telluride supporting it. So, much like it would be unwise to count out Trump in 2024, I believe that it would be unwise to count out The Apprentice.
