WHITE HOUSE DOWN

US, 2013, 132 minutes, Colour.
Channing Tatum, Jamie Foxx, James Woods, Maggie Gyllenhaal, Joey King, Jason Clarke, Richard Jenkins.
Directed by Roland Emmerich.

Over the history of the cinema, there is the frequent phenomenon that makers will produce two films at the same time on the same theme. 2013 sees two films with attacks on the American government and on Washington, DC. The first was Olympus Has Fallen where there is an attack by north Koreans on the White House, the heroics of a single action man, played by Gerard Butler, and the nuclear threats and the dangers to the president, played by Aaron Eckhart, along with character actors like Morgan Freeman and Melissa Leo as advisers.

This time the attack is from hawkish government authorities’ as well as disillusioned veterans. But, once again, the president is under threat, there is a single hero along with his lively daughter, and nuclear threats. Jamie Foxx is the president, with obvious references to president Obama. And the heroics are from Channing Tatum who was on a tour of the White House when the attack began with his young daughter, Joey King.

White House Down was directed by Roland Emmerich. He had destroyed the White House in Independence Day, 1996, and there is an enjoyable screenplay reference to this film. He also directed the end-of-the-world film, 2012. Along with Godzilla and The Day After Tomorrow, he has done a fair amount of disaster and destructive work on screen.

This screenplay takes American situations, government, peace attempts in the Middle East, arms sales to various countries of the Middle East, the possibility of withdrawing troops, and hawkish aims to retain military presence to defend American interests by staying in the Middle East. (This review written as decisions are to be made on strikes on Syria.) There is quite an amount of discussion on these issues. However, once the action starts, and the heroics accelerate, there are some rah-rah patriotic statements as well as some sentiment which is very American but may seem overblown to audiences outside the U.S..

The screenplay also makes good use of the clues that it offers early in the film including a painting of the burning of the White House in 1812, the little girl having photo capacities on her phone and being able to send them out, the indication early in the film of who the villain would be - but, still allowing for a twist at the end.

Channing Tatum seems very much at home in his role, a man not quite clever enough to be employed by the secret service, marrying too young and his marriage falling apart, yet devoted to his daughter and wanting to bond with her. Because he has served in Afghanistan and was in a security guard company, once the action starts, we’re not surprised at his heroics. Jamie Foxx is quite credible as the president. James Woods gets more than enough opportunity to chew the scenery in his familiar manner. Maggie Gyllenhaal is the security adviser. Richard Jenkins is the speaker of the house. Australian Jason Clarke is the vicious attack leader. And, once again, a lot of the action devolves on the young Joey King who acquits herself with some panache.

This is obviously a genre film, with its own conventions of dangers and heroics, betrayals and crises. It has to be judged on these criteria rather than assuming it is a highly serious-minded drama. The audience is invited to the joining in the puzzle about the situation, but they have the advantage of inside knowledge rather than the crowds who are seen milling outside the White House and the capital

This is a cheer the hero, hiss the villains kind of film. One of the intriguing aspects of both Olympus Has Fallen and White House Down is the presence of high technology as well as more ordinary, in-the-hand technology. There is computer hacking, getting access to Norad and the nuclear missiles and stopping government intervention as well as mobile phones, phone cameras, speakers, television coverage, often in close-up.

For audiences who enjoy this kind of action, drama and melodrama, allowing for some of the serious dialogue which could elicit giggles, while relishing the irony and humour of some of the rest of the dialogue, is an enjoyable action show.

1. Of Washington disaster film? The White House, the Capital and government? The context of the post 9/11 period? Terrorism? The attitudes of Hawkes and Doves in the government and administration? The director, his disaster films, aliens destroying Washington in Independence Day?

2. The Washington settings, the Capital and its interiors? The White House, interiors, the rooms, the basement, residence rooms, the elevators, the tunnels? The lawns and the exteriors, the gates and fences? The ordinary streets? The flight path through the buildings? The Washington monuments? The musical score?

3. The opening, Speaker, his security guard, living in the suburbs, his car to work? In the White House, the role of the VP? The president and his advisers, in the plane, his swoop? The various aides, Martin, at home, the farewell to his wife, his love for her, in the White House, the meetings, the day’s plans, Carol and her return and sending her away, the farewell cake and the celebration? The characters and the security personnel? Their tasks?

4. John, in the Speaker’s detail, his past history, the tours in Afghanistan, his wife, going to see his daughter, missing her performance, her not talking, the drive, the tickets to the White House and her mellowing? Going into the White House? His interview with Carol, the memories of the past, his studies, considered unreliable? His daughter, her blog, the president and her interview? Preparing for the later action? On the tour of the White House, Emma’s answering all the questions?

5. The terrorist team, John noticing them, the trolley with the explosives, the explosion itself and reactions? The Capitol exploding? The visuals?

6. The Security Centre, the commander and his hard line, antagonism towards Carol? The various contacts? The VP and his flight? The Speaker at the centre? The president and his being confined? The information, the equipment, the technology, grounds for making decisions? Communications to various parts of the White House and to the plane?

7. The terrorist group, the leader, his background, the various henchmen? The tour, Emma going to the toilet, John searching for her, Donny and his taking charge, the confrontation about the valuable paintings etc? The importance of the phone? Emma taking pictures of the group, sending them out, the media getting hold of them, the authorities? John and his running into the President, the terrorists in their search for them?

8. The drama of the pursuit, inside the house, in the elevator, above the elevator, dangers, the various rooms, the residence in the kitchen, the basement? Guns? The two eluding the pursuers? Going to the tunnels, their being blocked, contact with Carol, getting the codes? Through the tunnels and getting the car, the drive, the dramatics of the chase on the lawn, the tank attacking, the crash, the car going into the pool? The planes coming, the helicopters, the missiles?

9. Tyler, his role in the scheme, his abilities, downloading the codes, his vanity? Unlocking all the security systems for missiles and submarines?

10. Martin, in the office, his change, his attack on the President, his killing his detail and saying this was regrettable? His wife and the farewell, his motivation, his son and his death, his hawkish attitudes and lack of respect for the President’s negotiations? The plan, the money? The henchmen thinking it was about the money and the consequent reactions? The communications, the downloading, the targets in Iran and the motivations, the split-second timing and his not confirming the targeting of Iran? His not wanting the president killed? His anger? His ill-health? His wife coming to negotiate and vigorously supporting him? His telling Carol that he had sent her out of the building? The buildup to the climax, in the residence, guns and knives, wounding the President? His being prevented to fulfil his plan? His death?

11. The issue of the contacts, the film identifying the characters, the research, their grievances, then backgrounds? The leadership? The angers? Martin and the contacts?

12. The President, the issues in the Middle East, his wanting negotiations by phone, the Hawks in his government, the arms industry wanting wars to continue?

13. The VP, taking off, his staff, John contacting the girl who got the tickets, the swearing in of the VP? The attack on the plane and destruction?

14. The Speaker, being sworn in, not wanting to be President, his looking at the information, his authorising the attack on the White House?

15. Emma, with the group, the leader targeting her, being in the kitchen, the threats, the gun to her head?

16. John, saving the President, trying to stop the weapons against the planes and helicopters? The flights, the timing, going through the Washington streets, the crashes?

17. The media, the information coming instantly, Emma’s films, the speculations about what was happening? The journalists outside? The crowds outside the White House?

18. The various missile locations, submarines, the codes out of control?

19. John, eight minutes to the bombing, wanting to rescue his daughter, save the President, getting into the building, the picture of the burning of the White House in 1812, his setting fire to the upper stories, coming down, the confrontation with Martin, the fight with the leader, his death? The death of the
henchmen?

20. The confrontation, getting Emma out, the president wounded, getting him to safety?

21. Emma going into the lawn with the flag, waiting, the television footage, the pilots turning back, the White House saved? And Donny talking about the rebuilding?

22. Emma’s mother, present, dismay? Pride in her daughter?

23. The irony of the film not over, the issue of the codes, the research, checking phones, ringing the Speaker’s phone, its ringing, his ambitions, the setup, with Martin? His arrest?

24. The heroics, over-heroics, the ironies, the seriousness?