Irangate

Directed by Ronald Reagan?

At the White House

ONE OF THE hardest tasks for an actor is living up to a title like "the next Jimmy Stewart" or "the next Kate Hepburn." Such comparisons are flattering, of course, but they put the actor in a bind. When one is trying to create one's own individual piece of dramatic history, it is discouraging to be thought of as aping someone else, especially if that someone else is an unmatchable figure in his own right.

In this light, Ronald Reagan must be suffering terribly under the burden of his newfound image as "the next Richard Nixon." Apart from the fact that Reagan prefers more sympathetic roles, Watergate had the sort of genremaking freshness and glacial-paced unravelling of mystery, intrigue and sliminess that ensured it a unique place in the archives of presidential misadventure.

Measured against such a timeless classic, then, Irangate definitely rates as a grade B remake. Ronald Reagan, who for years has specialized as a bumbling Jerry Lewis type--witness his classic, What Disinformation Campaign?--simply does not exhibit the kind of depth necessary for the role of a mischievous villain.

Richard Nixon, on the other hand, had aptly demonstrated his scheming slyness in numerous productions before undertaking his final masterpiece. In Checkers, You Won't Have Dick Nixon to Kick Around Anymore, and his documentary classic, To Kill the 22nd Amendment, Nixon developed an acute sense of reptilian manipulation.

TO HAVE REAGAN attempt to reprise Nixon's role, therefore, is like asking Morgan Fairchild to undertake Lady Macbeth. The goal of any serious dramatic production--and for the first time, Reagan's audience is forced to be serious--is to achieve some kind of emotional catharsis. In witnessing the tragic fall of the protagonist, the audience can hope to achieve not only an understanding of the ephemeral nature of man's fortune, but also a sense of well-being based on the fact that, whatever their problems, they are not suffering like the poor schmuck on the screen.

Watching Reagan's tragic descent, however, inspires only one thought in the audience: that fool has done it again. It is a feeling of pathos, not of real tragedy. Consequently, this new production fails to evoke a true feeling of suspense; the audience knows full well how the plot will end. All that remains to be seen is how the action will resolve itself in getting to an all-too-predictable destination.

Undoubtedly, as much of the problem lies in the timing of Irangate as in its conception. Thirteen years ago, a large segment of the American public still believed that the American presidency was filled by successive reincarnations of George Washington; allegations of criminal activity held legitimate shock value. In the cynical '80s announcing that the President has been engaged in manipulative goings-on seems as predictable as saying the Kremlin is Red.

The failure of Irangate's leading man is particularly unfortunate given the quality of his supporting cast. One senses that these talented performers will miss the much-deserved notority they would have garnered in a more respectable production. Lt. Col. Oliver "Speak no Evil" North is nothing short of remarkable in his portrayal of the dual role of the real American Hero and his evil CIA twin.

Overall, Irangate disappoints, despite production costs of at least $40 million. No matter how big the budget, a B-grade actor is still just that. Let's hope this squalid drama closes soon.