The Apprentice, Revised: Donald Trump's Immoral Creations

The only element of cinematic art that The Apprentice highlights is the acting. A dramatization of Donald Trump's rise to power in the 1970s and 1980s, the film features a cast of characters including members of the Trump family and prominent New York politicians and socialites, chief among them the lawyer-fixer slash Roy Cohn, whose mentorship is Trump, offers an explanation of the film's title. The actors playing these roles, including Sebastian Stan, as Trump, and Jeremy Strong, as Cohn, provide something of a litmus test for the performance styles and for the power (or failure) of the compositions visuals to highlight them.

The film, directed by Ali Abbasi and written by Gabriel Sherman, begins with Donald, aged around 20 (it's good to call the characters by their first names to distinguish them from real people), struggling with a serious case of suburban syndrome. He works with his father, Fred Trump, Sr. (Martin Donovan), managing Trump Village, a middle-class apartment complex in Coney Island. Donald's job is dirty: he goes door to door collecting rent, often in cash, issues threats of eviction, and faces insults and even physical attacks from tenants. In particular, he wants to become a real estate player in Manhattan and he is starting big, with a project to renovate the Commodore Hotel, next to Grand Central Terminal. There is a certain vision behind his greatness: New York City, at the time, was in dire financial straits and widely considered to be in irreversible decline, but Donald was certain that the city would bounce back and that he could contribute to restore New York to its greatness.

Donald's idea of ​​New York was Manhattan, bright lights, actors and actors, and he was desperate to be part of high society. Admitted to the selective private restaurant and nightclub Le Club, Donald was perceived there as a relative person. But, the film suggests, he was nonetheless spotted while sitting alone after a disastrous date by one of the club's most prominent members, Roy Cohn, who invites the awkward young wrestler to his party table and introduces him to two mafia kingpins who are also sitting there. Donald explains that he works in the real estate business (and is exasperated when he is identified as Fred Trump's child) and says the company is in trouble because of a federal lawsuit alleging racial discrimination in selection tenants of Trump properties. Roy gives some unsolicited advice: fight back, make the government work, admit nothing. When unresolved accusations threaten to derail Donald's deal for the Commodore, he recruits Roy to officially represent the company in court.

In the film, Donald's rise to success and his fall into moral turpitude are linked by the bare-knuckle tactics with which Roy helps him build his fame and fortune. Donald, a worthy apprentice, ultimately leads his personal life in an equally ruthless manner. Constantly in contact with women (Roy tells him, I bet you fuck a lot), Donald nevertheless has a romantic side; When Ivana Zelnkov (Maria Bakalova) arrives at the Club, he quickly moves from flirting to courting. But when he tells Roy that he is going to marry her, Roy first scoffs, then insists that Ivana sign a prenupa application that almost ends the engagement. It is an example of Donald Queens' provincialism that, although he cuts a figure in the city's nightlife, he idealizes the institution of marriage and the lifelong union of his parents, Mary (Catherine McNally). and Fred, Sr.

Sherman, a journalist, delves into the practical aspects of Donald's business and its political context, which are by far the most notable aspects of the film. In court for the racial bias case, Roy displays chutzpah of comic dimensions, as when he challenges the black investigators' mention of white tenants on the grounds that the witness cannot presume their race from of their appearance. But this display of audacity is minor compared to the way Roy blackmails a federal official who initiated the lawsuit. Facing the official in a restaurant (and in the presence of Donald), Roy shows him photos suggesting an extramarital and homosexual relationship, and reminds him that homosexuals do not have access to federal employment. Soon after, the Trumps got away with a slap on the wrist and the Commodore deal was done. Roy confides to Donald his operating principle, a sports analogy, Play the man, not the ball. Leading Donald to his playroom, which is filled with audio equipment, Roy teaches him how to do it: planting microphones when he holds sensitive conversations with potential adversaries, then using his clandestine recordings as central weapons in his fights against them. What Donald learns from Roy, as Donald says, is that there are two kinds of people, killers and losers; Ivana, doubtful, wonders: It's good not to be a killer, right? But Donald adopts Roy's three rules as his own: attack, attack, attack; admit nothing, deny everything; and always claim victory and never admit defeat.

Throughout the remainder of the film, Donald demonstrates his mastery of these methods in a relentless and brazen series of betrayals, disloyalties, and cruelties. Roy draws her into a world of corrupt power that proves irresistibly tempting, welcoming her to a party he is throwing with the joking declaration: “If you're indicted, you're invited.” Among the friends Roy introduces Donald to are George Steinbrenner (Jason Blicker), Rupert Murdoch (Tom Barnett), and Roger Stone (Mark Rendall). Yet when Roy warns Donald against investing in Atlantic City's casinos, Donald quickly turns on him, driving his mentor into a virtual exile that involves hurling verbal insults and inflicting practical indignities on him. Donald treats Ivana with the same contempt, then rapes her. (The real Trump, as well as the real Ivana, claim there was never a rape.) As gruesome as the scene is, it has little practical consequence in the film, as Ivana has little he independent existence within her, but there is a telling exchange: too good to waste, between her and Roy, that hints at the depths of her despair. When Donald's troubled brother Fred, Jr. (Charlie Carrick), called Freddy, who was an alcoholic, died in 1981, the loss passed on Donald without even a shadow. The Apprentice locates the root of the two brothers' pathologies in the laconic and concrete cruelty of Fred, Sr.

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