'Colors' challenges political perceptions

Two years ago, the literary world was buzzing over "Primary Colors," the in-depth roman a clef about the Clinton campaign written by an anonymous author (later revealed to be Newsweek reporter Joe Klein). Now, the film world is equally enthusiastic about the movie version - a necessarily simplified but equally compelling film.

"Primary Colors" revolves around the long-shot presidential campaign of a charismatic, womanizing Southern governor (sound familiar?). Seen through the eyes of campaign manager Henry Burton (Adrian Lester), the film brings together a variety of colorful campaign strategists and political opponents.

Courtesy of Universal Pictures Adrian Lester and John Travolta star in the all-too-real political drama "Primary Colors."

At two hours and 20 minutes long, the film covers a great deal of ground, which gives it a somewhat uneven tone. The first half is one scene after another of Southern-fried fun, as Gov. Jack Stanton (John Travolta) and his motley crew of aides raise money, eat barbecue and sing country music. Willie Nelson's "On the Road Again" comprises a large part of the soundtrack.

But the second half takes a more serious approach, as Henry and the mildly insane Libby Holden (Kathy Bates) investigate a candidate who has made a surprise Perotesque entry into the race. The information they find out becomes a test of the Stantons' ideals - a scenario that doesn't fit well with the lighthearted, optimistic tone of earlier scenes in the film.

This change of mood was mediated in the novel by Henry's narration, as he related every scene in the same sober, meditative tone. In the film, unfortunately, Henry is given few words of dialogue; he most often seems to stand in the background and look concerned. His character is also flattened by a fairly happy ending that replaces the novel's ambiguous one.

A similar falling-off from the novel is the excision of Henry's relationship with Daisy, who creates Stanton campaign ads. The realistic, nuanced description of this relationship was one of the most unusual and refreshing things about the novel. The film, however, abruptly opens one scene with a shot of Henry and Daisy (Maura Tierney) in bed. With no lead-in or buildup to this, their relationship becomes entirely unbelievable and weakens the film.

But both of these are really inherent problems with turning a novel into a film; it's difficult to condense a 300-page book into two hours of screen time and do without its first-person narration. Considered on its own merits, the film "Primary Colors" certainly doesn't fall short.

The visual nature of the film, in fact, allows it to emphasize the central theme better than the detail-filled novel could. As Libby Holden puts it, the campaign becomes a test of "how low can you go?" In one scene, Stanton (John Travolta) is seen stating emphatically that he won't "go negative" on an opponent; the scene ends immediately afterward, underscoring this declaration. Thus it becomes all the more shocking when, in a subtly underplayed later scene, Stanton and his wife Susan (Emma Thompson) unthinkingly agree to use Libby's information to destroy a rival candidate.

PREVIEW
	Primary Colors 4 stars At Briarwood and Showcase

But the Stantons haven't simply lost their ideals - "Primary Colors" is more complicated than that. Again, the film provides a dramatic portrayal of why they need to campaign negatively.

In one striking scene, Stanton is shown making a speech before a cheering crowd holding signs. It gradually becomes evident that the crowd isn't cheering him but violently protesting him, because of the disclosure that he's had extramarital affairs. "Primary Colors" raises the question: Is there any chance for idealism in the shallow, tabloid-controlled mess that national elections have become?

Mike Nichols' direction subtly adapts to follow these themes, shifting from fast-paced, music-filled scenes at the start of the film, to slower lingering shots near the end. Nichols, the renowned director of "The Graduate" and "The Birdcage," amply displays his skills in this film.

The entire ensemble cast performs well, but two actors in particular stand out. Although she doesn't scream as much as in the novel, in which her character frequently spoke in capital letters, Kathy Bates' portrayal of Libby Holden is remarkably versatile. She makes a believable transition from wildly amusing scenes to emotional, heartfelt ones, as a lone idealist confused by what's happened to the political process.

John Travolta, surprisingly enough, delivers a shockingly good performance as Clinton - er, Stanton. When the film was being made, there was speculation as to whether the star of "Grease" and "Look Who's Talking" could adequately fulfill the expectations of this role. But from the first moment of the film, he gives an uncannily accurate impression of the real-life model for his character. Travolta is unfailingly charismatic, making viewers as enchanted by his character as Stanton's aides seem to be.

"Primary Colors" opens with a brightly colored shot of an American flag rippling in the breeze. It ends with a similar scene - a closeup of an unmoving flag in somber light. This is a fitting image with which to end the thought-provoking film. Despite its happy ending, audiences will leave wondering what's happened to the country's political process, and in whose hands the country therefore will rest.

03-24-98