One movie is not enough to pack in all the bizarre schemes and influence-peddling planned by felon anf former lobbyist Jack Abramoff. A fact demonstrated by famous documentary filmmaker Alex Gibney’s “Casino Jack and the United States of Money.” The information glut on the two-hour plus film is going to be difficult, especially when a desirable response for a report on the subject money’s corrupting effect in U.S. politics. The film has a May 7 release date.
Alex Gibney used noir-type thriller to take hold of attention at the beginning of Casino Jack, with a half-hearted re-enactment of the hit on casino proprietor Gus Boulis. The 2001 murder of Gus Boulis made it possible for Abramoff and business associate Adam Kidan to take over Boulis operation. This is actually a mean but minor sideshow in the bigger story of Abramoff’s masterful con jobs that trapped a number of congressmen and senators.
By far Casino Jack’s most appealing part is Alex Gibney’s well-researched study of Jack Abramoff’s political beginnings in the College Republicans. This is the breeding ground of a generation of true believers in free markets, less government and the evil Communist, whose ranks include Grover Norquist , Ralph Reed, Karl Rove, and Rep. Dana Rohrabacher. The striking clips of a young Ralph Reed and others engaged in street theatre makes them look like the SDS of the right; a part on Abramoff’s plan of an international conference of rebel in Angola is a stark display of this group’s radicalism.
Casino Jack shows how Jack Abramoff’s style of political zealot can lead one to do whatever thing for one’s cause, no matter the legal aspect. Grover Norquist’s K Street Project designed to position as many Republicans in lobbying firms as possible. Former House majority whip Tom DeLay’s pay-to-play approach to political fundraising via political action committees were the foundations of Jack Abramoff’s influence peddling.
The extremely charming Jack Abramoff with his ties to DeLay, began to build a lobbying empire for himself. Where “Casino Jack” soon becomes confusing in its quest to reveal and clarify the entire Abramoff saga. The chain of events detailing his business in sweatshop exploitation, with Indian casinos, pharmaceutical company and mafia-linked Russian elite was too much to take in a single sitting. But the striking reality is worrying: that an expert lobbyist can at the same time bilks his clients while seducing them. Enthralling politicians of all leanings with quid pro quo deals.
Onscreen figures in “Casino Jack”form a parade of talking heads, though one Jack ally Neil Volz stands out by being remorseful. He expressed moral disgust at himself. Maryse Alberti’s sharp cinematography is up to her regularly high standards, while song selections are a bit too cute. Alex Gibney’s considerable narration is better suited to PBS Frontline, which this sometimes resembles.
The U.S. Justice Department prohibited Alex Gibney from shooting Jack Abramoff during many hours of in-prison interviews. Meanwhile, the director is in an ongoing dispute over use of the title with director George Hickenlooper, whose upcoming narrative feature on Abramoff is currently titled “Casino Jack.”
This article was written by Alexis.
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