By: debbie lynn elias
Given the gravitas of today’s political climate and in light of this week’s elections, it seems only just, proper and fair that I more than encourage you to see one of the most electrifying political thrillers to come around in a long while – FAIR GAME. Based on the autobiography of the same name by ex-CIA operative Valerie Plame and “The Politics of Truth” by her husband, former Ambassador Joseph Wilson, FAIR GAME is the story of Plame, whose career was destroyed and marriage strained almost to the breaking point when her covert status was intentionally exposed by a White House leak. Set post 9/11 through 2003, while the investigation of the leak eventually led to the conviction of Scooter Libby as well as other legal ramifications and political fall-outs, it is the facts obtained by Plame’s operations (i.e., there were no weapons of mass destruction) that were ignored by the White House, plunging the United States unnecessarily into war with Iraq, that are some of the most impactful. This is one the “Must See Films” of the century for anyone who calls themselves an American.
Valerie Plame is the consummate woman. A dedicated, loving wife and mother with a high profile job as a venture capitalist, she is the woman her friends admire most and the woman her husband’s friends most desire. She has it all and balances it all with nary a hair out of place. Joe Wilson, a former U.S. Ambassador to Niger, supports his wife in her work and is the shining example of what a true marital partnership is. But appearances can be deceiving. For as Valerie and Joe seem like the epitome of success and marital bliss to their friends, what goes on behind closed doors is anything but.
Valerie is a covert operative in the CIA’s counter-proliferation department; leader of the CIA’s Joint Task Forces on Iraq. And she is the best in the business. An NOC, non-official covert operative, she has little or no protection if caught spying. The US government will deny her existence. Spending months planning and executing intricate operations infiltrating Saddam Hussein’s alleged weapons program, Plame discovers that Iraq doesn’t have any nuclear weapons program, no weapons of mass destruction – a fact on which she stands even when grilled by the highest levels of the White House. But rumors abound concerning a possible sale of enriched uranium to Iraq, a sale which allegedly occurred in Africa. Looking for someone with expertise in African relations, the CIA turns no further than Joe Wilson, Plame’s husband, for help. What better person to send to Africa to either verify or negate the rumors.
After his own extensive investigation, Wilson’s findings confirm those of Plame. No deal took place. Two other independent reports also verify those of Plame and Wilson. (Of note is that Wilson was the last American diplomat to meet with Hussein after Iraq’s 1990 invasion of Kuwait. It was Wilson who personally went head-to-head with Hussein and rescued thousands of Americans “trapped” under Hussein’s rule.)
Ignoring all the evidence, the White House nevertheless declares war on Iraq, claiming evidence of “weapons of mass destruction” and “active nuclear weapons program” as the basis for the attack. Outraged by this lie being perpetrated no the American people, Wilson pens a now famous article in “The New York Times” setting forth the truth, an article which starts a seemingly endless domino effect of disaster for all.
Shortly after Wilson’s article appears, in a vindictive move by the White House, Plame’s true identity is leaked, endangering not only herself, but her family, her friends, her marriage, her career, her informants, and the American people. And that’s only the tip of the iceberg.
Naomi Watts is spellbinding as Valerie Plame. Bearing more than a striking resemblance to Plame (so much so that Plame’s own son commented on her finding a twin at age 45), Watts’s performance is strong and compelling. Determined to portray Plame with all the truth and authenticity possible, beyond spending time with Plame and Wilson, she went through the same CIA training for covert operators as Plame had in her days with the Agency. Beyond the truth in the performance, Watts also captures the emotional fortitude of a woman living a duality, pushed to the emotional brink, but never breaking. The dance that Watts does with her co-workers/with the characters of Valerie and Joe/ Valerie and her ops, is meticulous and mesmerizing. There is this tower of strength, confidence and certainty with the deliberateness of every movement, every syllable. It’s fascinating to watch. Watts is inscrutable as Plame. And then to see this great chemistry with Sean Penn. Those two are explosive together. 
And Sean Penn – – – all I can say is that the only way Michael Douglas is going to win the Best Actor Oscar (whether for “Wall Street: Money never Sleeps” or “Solitary Man”) is if he uses his cancer for sympathy votes because Penn is at the top of his game and has never been better. His monologues and diatribes are mesmerizing and mind-blowing. His passion is infectious. You feel the frustration in Wilson. You feel the pain of his wife being lambasted in the press and by her “employer.” You feel the anger of governmental lies. Penn is pure Oscar gold.
I can’t remember when I’ve enjoyed David Andrews more in a role. As Scooter Libby, he is such a nebbish; a delicious derelict. Nice touch with Polly Holliday as Plame’s mother. Anyone who knows their tv sitcoms will immediately find a touchstone with this casting given her appearances on “Home Improvement” playing Jill Taylor’s mother married to a life-long military man called “The Colonel.” On hearing Holliday’s voice, needing no backstory at all, your mind immediately clicks into the image and persona of a strong military wife – and that’s exactly what you learn in a very touching sequence between Watts and Sam Shephard, who plays Plame’s father, a retired Air Force Lieutenant Colonel.
Written by Jez Butterworth and John-Henry Butterworth and directed by Doug Liman, FAIR GAME is riveting, dynamic, fast-paced, high energy, electrifying intrigue. Filled with suspense, the truth of the subject matter is both provocative and evocative. The dialogue crackles with razor-edged precision. The concise presentation of facts and so many intricate details of every aspect of this phenomenal story and the events that led to the war and thereafter, provides a crystalline look at truth; that the truth really is out there if you just open your eyes and look for it. The research and meticulousness of the script and detailed minutia that went into the making of this film to insure authenticity and accuracy is beyond impressive, especially the implementation of the actual method used by the CIA of two-source confirmation, as to every technical detail of the film. 
It was one thing to follow the events of Plame’s story when it was actually happening. We saw it unfold through the eyes of the media, but through Doug Liman’s lens and the actual underlying story of Plame and Wilson, to see the events put together in one cohesive concentrated chronological form with the complete underlying facts (as much as can be told given the confidentiality agreement Plame had to sign on leaving the CIA), puts the political machine and certain politicians in perspective.
As far as I’m concerned, as a director, Doug Liman is pure genius. His voice is original, loud, clear and decisive. He breathes life into every project, escalating it to unseen levels of excitement and suspense. His films – and particularly, FAIR GAME – are like rapid eye movement brought to life; instead of eyelids fluttering, we have visual images rapidly moving on screen, pulsating score and crisp, razor-honed dialogue, engaging all of our senses simultaneously for a truly immersive film experience. With the opening frame, Liman engages every synapse, even turning on those that have long been dormant thanks to the mindless drivel that regularly assails our brains. His lensing is extraordinary. Clearly shooting hand held, rapid pan and scan close-ups propel the intrigue and tension while simultaneously creating a feeling of solitude and isolation within each character. Exchanges and human interactions are often fleeting and quick, adding to the meaning of covert ops; Did I see that? Do I know him/her? Ingenious. And the contrast between the grit and grime of Iraq and the sharp, crisp, polished look of the US and the CIA, just fuels the film. But then he tosses in actual news footage which seals the deal. Shooting in five countries, FAIR GAME has the distinction of being the first non-documentary American film to ever shoot in Baghdad. 
Valerie Plame was given a Congressional Medal of Honor for her service to this country, and then thrown to the wolves. But not only did she and her husband survive, they thrived. This is their story. There are no words that will ever be worthy of Valerie Plame and Joe Wilson and the sacrifices they made for this country. Their courage and conviction should be a shining example to every American and to the world. Thanks to the eyes of Liman’s lens and powerful performances by Watts and Penn, with FAIR GAME we are given truth amidst psychological political intrigue. An undeniable winning combination.
Valerie Plame – Naomi Watts
Joe Wilson – Sean Penn
Directed by Doug Liman. Written by Jez Butterworth and Hon-Henry Butterworth based on the books “The Politics of Truth” by Joseph Wilson and “Fair Game” by Valerie Plame Wilson.
