The Walker - Paul Schrader's Political Drama
While chaperoning a senator's wife to an illicit meeting, Carter Page III (Woody Harrelson) happens upon a murder victim's body. When he agrees to be the fall guy to keep his client's name out of the newspapers his friends soon betray him. The Walker, directed by Paul Schrader, is a film about the politics of scandal and how doing the noble thing can strike a discord with dishonourable types.
In Schrader's film Woody Harrelson plays Carter Page, a "walker" who accompanies the wives of politicians to various social engagements acting as both chaperone and entertaining raconteur. While escorting Lynn Lockner (Kristin Scott Thomas), the wife of a notable senator, Carter discovers a murder victim's body. Carter rapidly finds himself involved in the kind of scandal that he often recounts to his friends and clients with his southern tongue and acid wit. Carter's personal life plummets into turmoil as the pressure of a murder accusation begins to take its toll. But the murder, in effect, is the least important element of The Walker, with Schrader instead focussing his attention on the back-biting and exploitative undercurrent that colours the Washington political scene. This is an intelligent and subtle film that relies on sharp writing and evocative characterisations to tell its sombre tale of the true price of scandal.
Carter Page is the perfect chaperone for the society types of Washington. He is witty, erudite, self-effacing and sexually non-threatening. Carter is proudly, if not overtly, homosexual; no doubt easing the minds of the politicians who entrust their partners to him. And women love him - he's always quick with a biting comment, well-versed in the folklore of Washington's elite and he carries himself with impeccable charm and style. Harrelson's portrayal is first-class, aided by an array of sharply designed formal outfits which he wears like a suit of armour. Carter is the perfectly refined in every way, and absolutely discrete. That's why Lynn employs him to drive her to her meeting with Robbie (Steven Hartley), a man of dubious character, with whom Lynn is having an affair. When Lynn finds Robbie's body in his apartment, it is Carter who agrees to fall on the sword and call the police. At this point The Walker changes tack with Carter's friends and associates abandoning him one-by-one as the noose tightens around his neck.
Whilst Carter is rightly portrayed as a victim, he is also presented as complicit in his own demise. Speaking to his attorney, Carter admits to believing that "It'll all work out", to which he is accused of being naïve. Carter retorts "I'm not naïve...I'm superficial". This blasé attitude, one that permits him to be the fall-guy for his much more powerful friends, seems likely to send him to the gallows. The oft-played Bryan Ferry music punctuates the mournful undercurrent that threatens to overwhelm the protagonist as he sinks deeper into dejection. Ironically, Carter is a substantial character, and much more honourable than any of his so-called friends. We learn that his father and grandfather had been noble servants of the country, the former as a Senator investigating Watergate and the latter as a plantation owner. Yet, Carter recoils at their exploits, noting in confidence, that his father took kick-backs and his grandfather exploited slaves. So Carter's selfless act to protect Lynn is then viewed as a form of personal redemption. He is attempting to display a loyalty and honour that his forebears did not. Such themes of redemption and emancipation have found voice in many of Schrader films, often presented in violent acts of brutality. A true quality of The Walker is the manner by which Schrader restrains himself to present a subtle and literate presentation of deliverance.
There is much subtlety to this film and it assists in elevating it above the typical Hollywood thriller/drama. Scandal, politics and murder are a well known resource for filmmaking; Clint Eastwood's Absolute Power is possibly the most celebrated recent example of the melodrama that develops when a high-ranking politician attempts to cover up a ghastly crime. Schrader's The Walker is a very different film, and he does well to take the familiar material into new territory. Schrader focuses primarily on the cynical exploitation of the genial Carter by his friends and clients, and the power that scandal holds over those in elected office. At times during the movie it seems the crime is less important than the scandal surrounding its circumstances. Schrader, who also wrote The Walker, paints a bleak picture of Washington and the government-types who run it; they are more than simply selfish, they are ruthlessly cunning. Carter's friends and colleagues desert him because he ceases to be useful to them, and now he is likely to be a liability by association. Carter has served his purpose for the elite of Washington and he is discarded without a single concern for morality or justice. Schrader isn't merely constructing obvious villains and heroes. Some characters who initially seem sympathetic are exposed to be spineless, while other characters display a resolve that was seemingly lacking in the earlier stages of the story.
Though Schrader works very hard at stressing the subtle elements of The Walker, at times the film seems excessively downbeat. In his attempts to construct a subdued character drama, Schrader sometimes lets the film become too understated and unclear. Additionally, the dialogue is weighty and colourful, and beautifully delivered in the various accents of the characters. Yet, the rich tapestry of language can sometimes be overbearing, causing the viewer to fall a step behind the story. Largely, the fine acting helps to clarify the complex writing, but it is not always successful. As such, the film loses some of its power as the story progresses. Where the film should become more engrossing, it instead feels increasingly vague about its intentions and its hypothesis. The Walker is an adequate political drama that wisely avoids the pitfall of turning its material into over-heated melodrama. Yet, in the quest for subtlety and complexity, Schrader sometimes leaves the viewer out in the cold, much like Carter Page.
In Schrader's film Woody Harrelson plays Carter Page, a "walker" who accompanies the wives of politicians to various social engagements acting as both chaperone and entertaining raconteur. While escorting Lynn Lockner (Kristin Scott Thomas), the wife of a notable senator, Carter discovers a murder victim's body. Carter rapidly finds himself involved in the kind of scandal that he often recounts to his friends and clients with his southern tongue and acid wit. Carter's personal life plummets into turmoil as the pressure of a murder accusation begins to take its toll. But the murder, in effect, is the least important element of The Walker, with Schrader instead focussing his attention on the back-biting and exploitative undercurrent that colours the Washington political scene. This is an intelligent and subtle film that relies on sharp writing and evocative characterisations to tell its sombre tale of the true price of scandal.
Carter Page is the perfect chaperone for the society types of Washington. He is witty, erudite, self-effacing and sexually non-threatening. Carter is proudly, if not overtly, homosexual; no doubt easing the minds of the politicians who entrust their partners to him. And women love him - he's always quick with a biting comment, well-versed in the folklore of Washington's elite and he carries himself with impeccable charm and style. Harrelson's portrayal is first-class, aided by an array of sharply designed formal outfits which he wears like a suit of armour. Carter is the perfectly refined in every way, and absolutely discrete. That's why Lynn employs him to drive her to her meeting with Robbie (Steven Hartley), a man of dubious character, with whom Lynn is having an affair. When Lynn finds Robbie's body in his apartment, it is Carter who agrees to fall on the sword and call the police. At this point The Walker changes tack with Carter's friends and associates abandoning him one-by-one as the noose tightens around his neck.
Whilst Carter is rightly portrayed as a victim, he is also presented as complicit in his own demise. Speaking to his attorney, Carter admits to believing that "It'll all work out", to which he is accused of being naïve. Carter retorts "I'm not naïve...I'm superficial". This blasé attitude, one that permits him to be the fall-guy for his much more powerful friends, seems likely to send him to the gallows. The oft-played Bryan Ferry music punctuates the mournful undercurrent that threatens to overwhelm the protagonist as he sinks deeper into dejection. Ironically, Carter is a substantial character, and much more honourable than any of his so-called friends. We learn that his father and grandfather had been noble servants of the country, the former as a Senator investigating Watergate and the latter as a plantation owner. Yet, Carter recoils at their exploits, noting in confidence, that his father took kick-backs and his grandfather exploited slaves. So Carter's selfless act to protect Lynn is then viewed as a form of personal redemption. He is attempting to display a loyalty and honour that his forebears did not. Such themes of redemption and emancipation have found voice in many of Schrader films, often presented in violent acts of brutality. A true quality of The Walker is the manner by which Schrader restrains himself to present a subtle and literate presentation of deliverance.
There is much subtlety to this film and it assists in elevating it above the typical Hollywood thriller/drama. Scandal, politics and murder are a well known resource for filmmaking; Clint Eastwood's Absolute Power is possibly the most celebrated recent example of the melodrama that develops when a high-ranking politician attempts to cover up a ghastly crime. Schrader's The Walker is a very different film, and he does well to take the familiar material into new territory. Schrader focuses primarily on the cynical exploitation of the genial Carter by his friends and clients, and the power that scandal holds over those in elected office. At times during the movie it seems the crime is less important than the scandal surrounding its circumstances. Schrader, who also wrote The Walker, paints a bleak picture of Washington and the government-types who run it; they are more than simply selfish, they are ruthlessly cunning. Carter's friends and colleagues desert him because he ceases to be useful to them, and now he is likely to be a liability by association. Carter has served his purpose for the elite of Washington and he is discarded without a single concern for morality or justice. Schrader isn't merely constructing obvious villains and heroes. Some characters who initially seem sympathetic are exposed to be spineless, while other characters display a resolve that was seemingly lacking in the earlier stages of the story.
Though Schrader works very hard at stressing the subtle elements of The Walker, at times the film seems excessively downbeat. In his attempts to construct a subdued character drama, Schrader sometimes lets the film become too understated and unclear. Additionally, the dialogue is weighty and colourful, and beautifully delivered in the various accents of the characters. Yet, the rich tapestry of language can sometimes be overbearing, causing the viewer to fall a step behind the story. Largely, the fine acting helps to clarify the complex writing, but it is not always successful. As such, the film loses some of its power as the story progresses. Where the film should become more engrossing, it instead feels increasingly vague about its intentions and its hypothesis. The Walker is an adequate political drama that wisely avoids the pitfall of turning its material into over-heated melodrama. Yet, in the quest for subtlety and complexity, Schrader sometimes leaves the viewer out in the cold, much like Carter Page.
Woody Harrelson with roadkill on his head
