Published via Ecency

(source: tmdb.org)

In early 1980s American politics began to swing decisively to the right. Under the new leadership of Ronald Reagan the world's superpower found its new sense purpose in re-escalating Cold War and confronting the "Evil Empire". Communism again became something that should be fought and eradicated at all cost, even at the risk of nuclear annihilation. It is, therefore, ironic that one of the most expensive and ambitious Hollywood films of that time, Reds, 1981 biopic directed by Warren Beatty, happened to to be dedicated to the most famous American Communist of all times.

Protagonist, played by Beatty, is John Silas "Jack" Reed, young journalist who became famous as war correspondent during Mexican Revolution. Although he was born as member of privileged upper class, he began to sympathise to impoverished masses and embraced Socialism and other ideas most Americans considered to be too outlandish or dangerous. Plots begins in 1915 Portland when he meets Louisa Bryant (played by Diane Keaton), photographer and writer who also embraced radical ideas of women's suffrage and free love. In Reed she sees not only an attractive man, but also a kindred spirit and way to end her suffocating marriage to local dentist. Two of them begin passionate affair and move to Greenwich Village in New York, where they would start to hang out with famous bohemians, political radical and anti-establishment writers like Eugene O'Neill (played by Jack Nicholson), with whom Louisa would have an affair. Reed and Bryant ultimately marry, but their happiness is overshadowed by historical events. United States, much to their displeasure, enter First World War, but, at the same time, revolution has brought down Czarist regime in Russia. Two of them travel there and witness how the Bolsheviks bring down weak and unpopular Provisional government and take power, turning Russia into first socialist state in history. Reed, who had described those events in popular book "Ten Days That Shook the World" becomes enthusiastic supporter of new regime and Communist ideology. Upon return home, it turns out that his countrymen and, especially the government, don't share that enthusiasm. Reed is subjected to surveillance, while his attempts to form Communist party in USA fail due to factional divisions. In an attempt to win favour for his faction, he returns to Russia, but he would begin to clash with Comintern bureaucrats like Zinoviev (played by Jerzy Kosinski) and his health will begin to fail.

Reds was very personal project for Beatty. Not only did he produced, directed, co-wrote and starred in the film, but he was driving force behind the project, developing it for more than a decade. As such, it has all marks of New Hollywood, which includes style of direction and narration, cinematography and, last but not least, the cast. The main asset of Reds is in the acting. Beatty plays his role very well, making Reed convincing both as charismatic revolutionary and the man troubled with his physical limitations, as well as discrepancy between his noble ideals and disappointing reality. Keaton is also very good in the role that makes her character embrace and manipulate her sensuality, while being hopelessly devoted to her husband to the bitter end. The best performance belongs to very subdued Jack Nicholson who is an effective as Reed's romantic rival and cynical counterpart, while remaining his loyal friend for the whole time. Another good performance is given by Maureen Stapleton as Emma Goldman, anarchist icon whose criticism of the emerging Soviet system serves as a clever way to allegorically illustrate how the many Hollywood leftists ultimately felt betrayed and disappointed by Communist ideology. Another interesting way contemporary Hollywood politics affects this film can be found in the scene depicting Soviet-sponsored Congress of the People in the East, propaganda effort during which Reed, to his horror, sees that Muslim masses interpret his speech, deliberately mistranslated by Zinoviev, as a call for jihad. This scene reflected growing concern in the West about rise of political Islam embodied by post-revolutionary Iran.

Politics, however, plays second part in this film, which is ultimately more concerned with more universal, albeit somewhat unconventional, love story between two leads. Script by Beatty and Trevor Griffiths does commendable work in establishing the characters and their interactions. It is only in the second part of the film when many of its flaws become apparent. There is simply too little time for audience to become familiar with complexities of First World War and Russian Revolution. Beatty tries to counter this by introducing documentary material, namely interviews with various, mostly very old people, who call "witnesses", who give commentary and serve as some sort of Greek chorus. But their lines are often confusing and contradictory and they add to the chaotic nature of the film. Part of the film dealing with Reed's ill-fated attempt to leave Soviet Russia via Finland and his captivity is especially confusing. Equally confusing battle between Red Army and countrerrevolutionaries at the very end looks like an excuse to give the film an epic scope in terms of combat. The predictably bleak ending, despite valiant efforts of Beatty to provide one of the memorable on-screen deaths, would probably leave many viewers disappointed, especially those who would have like to know what happened to Louisa afterwards. Lack of conventional soundtrack would also create something of a disappointment to the viewers who expected another Doctor Zhivago. Although generally watchable, Reds should be recommended mostly to viewers interested in New Hollywood or 20th Century history.

RATING: 5/10 (++)