The Trial of the Chicago 7 was, without a doubt, an Aaron Sorkin production. From its unabashed democratic and liberal-leaning politicking, its mile-a-minute monologues and abundant witticisms, to its social topicality and relevance, Sorkin used his platform to highlight a true story set in the 60s that - - unfortunately - still resonates now almost 50 years later. A painful reminder that despite half-a-century of time, not much in the world has changed.
Sorkin had assembled a top notched cast but the ones who really stole the show were: Sacha Baron Cohen, Mark Rylance, Jeremy Strong and the fantastic Frank Langella. The others definitely held their own but these four really sold their characters and gave life to Sorkin's writing, and are a shoo-in, hopefully, for some Oscar acting noms.
Sorkin as a director was unexciting. Although he would be the best person to understand all the beats of his own writing and the unconventional narrative structure did help to keep the audience, especially those who are unaware of this story, on their feet. Of course, undeniably, poetic license and dramatisation has to occur in any fictional retelling of a true story, but at least in this case, Sorkin did not appear to have done anything too far-fetched or histrionic. Well, maybe except inserting Eddie Redmayne's Tom Hayden into one too many scenes.
Redmayne and Cohen were undoubtedly the lead actors in this film, but other than both their confusing and inconsistent attempts at maintaining their American accent, Cohen definitely outshone Redmayne. Cohen daftly embodied Abbie Hoffman and Sorkin did seem to have more fun writing for his character, allowing Cohen/Hoffman to sometimes take on the role of a narrator which he did with aplomb.
Redmayne, on the other hand, was suitably cast as the student president of the SDS. He consistently exuded a Newt Scamander-esque vibe with his schoolboy charm and scarves, but his Hayden was written too flatly and uninteresting to effectively put those charms too good use. And even a third act boost failed to make Redmayne/Hayden any more urgent or active.
Rylance was phenomenal. His every action and body language conveyed layers and so much more than Sorkin's words, which in itself would be a challenge to most actors. He was paired mostly with Ben Shankman and the two played well with and against each other.
However, the most interesting actor was Langella. What a villainous character his Judge Hoffman (no relation with Abbie Hoffman...hah!) was. Langella was a villain everybody loved to hate and he was delectable. Langella was a masterclass in using his eyes and words to terrorise and belittle. Horrifying!
Strong was believable as a stoner and he got some of the best one-liners. Well, he and Noah Robbins and Daniel Flaherty.
Other big names included Joseph Gordon-Levitt (miscast in a role that seemed to require more gravitas and ability to manifest personal and professional conflict), Yahya Abdul-Mateen II (great presence with one fantastic scene that screamed nomination reel!) and Michael Keaton (always welcomed and did his scenes justice). The rest of the cast, in roles big and small, were all suitably cast.
Given the storyline, it was not surprising that the film lacked female and LGBTQ representation.
The music was by Daniel Pemberton, and like Sorkin's direction, was unexciting. It was rousing when it needed to be and subdued at times of contemplation. However, the collaboration with Celeste for "Hear My Voice" over the closing credits was great, and has a real shot of a Best Original Song nomination.
Cinematography was by Phedon Papamichael and there were some beautiful shots, especially the last court scene.
Speaking of which, that final scene was, kudos to Sorkin, a befitting, rousing, and heroic choice to end the story.
This film, in this limited Oscar race, will likely get a nomination for Best Original Screenplay and hopefully some acting nominations. A pity we did not get a chance to watch it on the big screen.
