Donald Trump’s attorneys have sent a cease and desist letter to the filmmakers after their controversial depiction of the former US president portrays him as a rapist.
That didn't stop director Ali Abbassi, also known for Border and Holy Spider, receiving an eight-minute standing ovation for The Apprentice during its first premiere at the Cannes Film Festival.
The Iranian-Danish filmmaker then took it upon himself to justify making a film on Donald Trump to the audience by insisting: "There is no nice metaphorical way to deal with the rising wave of fascism."
He continued saying that “it’s time to make films political again”, suggesting that the problem with the world is that the “good people have been quiet for too long”.
If modern cinema wasn’t political now then I dread to see what the continuing bastardisation of the art form would look like if the film industry takes influence from Abbassi’s proposal.
Judging from Abbassi’s statement, he isn’t too concerned about alienating audiences who may fall outside of his "good people’ category".
The loudest at the moment being Trump’s team as they attempt to block the film's US sale and release through a cease and desist letter due to the "malicious" depictions of the former president.
The Apprentice follows a younger Donald Trump as he first meets Roy Cohn, a powerful lawyer who helps him climb to the top, turning him into the man we know him to be.
The film includes many negative depictions of Trump’s character as he follows suit from Roy’s ruthlessness and narcissism, including a rape scene involving both Stan and Bakalova's characters.
Only time will tell whether this creative decision will lead to the filmmakers being sued for defamation.
Donald Trump's lawyer have threatened to stop the film's release in the USA
PA
When asked whether he was worried about the possibility during a press conference, Abbassi responded: “Everybody talks about him suing a lot of people; they don't talk about his success rate.”
I suspect the filmmakers contemplated this possibility carefully as the film begins with an opening message clarifying that although the characters are based on real people, some events in the film have been fictionalised for dramatic purposes.
Of course, in reality, it’s known that Ivana Trump accused her former husband of rape, but she later denied that any criminal activity took place.
But outside of the external controversy, is the art itself any good? I’d say yes.
The Apprentice holds itself as a competent piece of work that's an intriguing insight into a man's journey to power and the darkness of how that pathway functions.
There’s no boredom to be had with this as the narrative ensures it maintains your engagement alongside the film's fast pacing.
Stan delivers a convincing performance as Trump as he manages to perfect his mannerisms which generate a few laughs. However, Jeremy Strong steals the show for his strong portrayal of Cohn.
The film portrays both of these characters as unlikeable, but that doesn’t make them any less fascinating to watch.
The relationship between Cohn and Trump and how they managed to be one of the most influential and powerful figures in New York City is the main fascination point of this work.
The Apprentice also examines the dark reality of narcissists finding their way to the top of the food chain due to their destructive personalities in a world that is seen through the lens of winners and losers.
LATEST DEVELOPMENTS:
The Apprentice: Stan and Bakalova lead the cast of the film
THE APPRENTICE/TAILORED FILMS LTD
One’s own political bias may easily influence your verdict on whether you will like this film or not. The filmmakers make it quite clear they’re no fan of Trump in and outside of the artwork.
Perhaps the film could have been more interesting if they adopted a more neutral approach rather than one of character assassination. However, it's challenging to convey neutralism in a piece like this when the motivation for its existence is one of bias.
Putting politics aside, the quality of the art of The Apprentice should be recognised. Both on the left and right of the political spectrum, too many spectators are willing to dismiss a film’s artistic merit if the work goes against what they believe politically.
If you’re willing to refrain from allowing your politics to interfere with your judgment on art, you may just find yourself enjoying the experience of watching The Apprentice.
