With the sad news of New Hollywood icon Robert Redford’s passing, what better way to honour his memory than to enjoy his body of work, and what a body it is: from Butch Cassidy and the Sundance Kid to All the President’s Men, Redford has left behind quite the legacy. Beyond the big screen Redford was also acutely aware of the American political system, even being a vocal advocate for causes he believed in. So, with that in mind lets look at one of his lesser known, but by no means lesser quality movies, The Candidate (1972).
The Candidate (1972) is a political satire directed by Michael Ritchie; it released in the same year as the Watergate scandal became public knowledge (which would go on to inspire Redford’s film All the President’s Men.) While not directly influenced by it, the movie manages to tap into the American public’s disillusionment in the government. This isn’t the only reason why the film is interesting, (although it is certainly a big reason) rather it’s in the movie’s almost prophetic showcase of how populism and media manipulation would become embedded deeper into the political system.
The film follows the gradual transformation of idealistic lawyer Bill McKay (Redford), into a refined politician. He’s chosen to run as the main representative of the Democrats as they see the election as a ‘shoe in’ for the Republicans. With this campaign perceived as unwinnable, they tell him he is “free to speak his mind,” so McKay answers candidly to tough questions with a simple “I don’t know”, instead of the usual peer-approved statement. That is until he gains popularity and replaces honesty with vague platitudes and media-ready soundbites that will test well.
This transformation from an ‘outsider’ of the establishment promising big changes, to being absorbed into the very system he opposed mirrors the modern political landscape quite well. Redford does a good job portraying McKay’s journey as man of strong moral character to one willing to abandon his authenticity in the hopes of being elected.
This mirrors the rise of modern populist figures who begin as outsiders, promising to disrupt the establishment, only to be absorbed by the very machinery they claim to oppose. The film’s depiction of McKay’s shift from conviction to compromise reflects how populism often becomes a branding exercise, where authenticity is sacrificed for electability.
By far the best and most important scene of the film (Spoiler alert!) comes at the end of the movie. McKay wins the election whispers to his campaign manager, Marvin Lucas played by Peter Boyle “What do we do now?” although a simple line, it carries a lot of weight. They’ve won the election with half-truths and spin, so what do they do with that power and ultimately who is going to be wielding it?
Although the film is a satire and some aspects are dated, it’s became more of a documentary than a fiction. The slow decay of ideology, messaging being manipulated for and by the media, as well as the rise of charisma over competence are all themes that resonate and will for the foreseeable future.
Despite being one of his lesser-known roles, Redford’s portrayal of McKay ranks amongst one of his standouts; he gives him charm, vulnerability, sincerity and an anxious desperation which makes the characters eventual decline more poignant. It was a project he believed strongly in too, calling it a “labour of love” and praising its satirical bite.
Beyond the film, Redford consistently used his platform to elevate stories that were close to him, they challenged, provoked, and inspired. His passing this year marks the end of an era, but The Candidate remains a timeless reminder of him as a person, both as an actor and as a cultural conscience.