THE APPRENTICE - Review | Cannes Film Festival 2024

Ali Abbasi’s latest film is his most fast-paced, grounded, and accessible film yet that shows Trump’s corrupt transformation through his mentorship by lawyer Roy Cohn. Thus, justifying its existence by providing a hidden/unique side to his story where Sebastian Stan as Trump and Jeremy Strong as Cohn believably transform to their roles while providing constant engrossing screen presence. Even with a stronger first half which is when their dynamic is introduced and explored. The Apprentice’s retro style, gripping performances, and snappy screenplay make the story of a system causing strong-minded individuals to lean into despicableness engaging to fully watch unfold.

Still Courtesy – Scythia Films

Starting in New York City during the early 1970s, a younger Donald Trump (portrayed by Sebastian Stan) has the ambition to expand his real estate business despite the legal troubles and New York's diminishing economy that get in the way. However, upon his encounter with the infamous but efficient lawyer, Roy Cohn (portrayed by Jeremy Strong), they begin forming a friendship while he represents Trump to take care of his legal battles. From there, Cohn shares his methods with Trump for consistent success regardless of whether his actions are accountable. Thus, the tides start turning between the two individuals when Trump starts putting these strategies into action, leading to him meeting his first wife, Ivana (portrayed by Maria Bakalova).

Certainly, a film that could not be more relevant today, given all of Trump's current publicity. However, none of this information will influence the quality of The Apprentice (2024) which initially seemed like such an enigma for how it would turn out. Especially coming from Ali Abbasi as he transitions from making provocative genre films in Europe/Iran to his first "mainstream" film in English. This also being his first film where he's not credited as a writer; author Gabriel Sherman took over that role in his first original screenplay. There was nothing but ambiguous speculation regarding the finished product. However, upon seeing the film, the connection between Abbasi's work and The Apprentice (2024) started to make sense.

With his last film, Holy Spider (2022), following a killer who justifies his actions based on his own philosophy where conflicting ideals of agreement are presented. The Apprentice (2024) doesn't necessarily follow a murderer, but someone who likes to identify himself as a "killer" for screwing people over and getting what he wants. This is made clear during a scene closer to the end where Trump differentiates people as being "killers" or "losers" while taking credit for three methods that every "killer" should have. Thus, Abbasi's decision to make this film started to make sense, where the witty and clever screenplay along with the visionary approach to the story makes The Apprentice (2024) something truly substantial and engaging.

Most of the film doesn't even portray Trump in his modern stereotypical manner. This is due to the filmmakers choosing to focus on a side of him that's not as generally well-known. This not only refers to his dynamic with Roy Cohn where his advice and influence on Trump ultimately shaped who he eventually became. Also, the subtextual story is on analyzing the demanding capitalist system of America that brings out the most hostile of actions of people to stand out and keep up with it. Thus, from the beginning of the film, Cohn already being established as the unrelenting "killer" that one wouldn't want to mess with while Trump starts his path to reach that status. These two embody different sides of the film's statements that keep being developed as they guide viewers through the story. Thus, when getting closer to the end, the film's statements on how one's ascension leads to another's descension as a result of the system. They become clear when seeing how the characters ended up compared to how they started.

Still Courtesy – Scythia Films

Despite these themes having been explored in other films with a New York setting that follows a mentor/mentee dynamic, something like Wall Street (1987) comes to mind. The fact that this type of story is seen through the mentee perspective of someone like Trump where his initial portrayal of being youthful and sincere is something fascinating and surreal to witness. It separates The Apprentice (2024) from other films that make similar statements along with having a very distinct look and style. From the font choice and funky music of the opening credits, the 1970s retro feel is so clear to the point where it'd be hard to tell the difference between the look of archival documentary footage of the time and footage of The Apprentice (2024). The tight and handheld camera style from a series like Succession (2018 - 2023) is also found here; this is based on the film's time period while being fairly intimate and natural for everything that's captured. Thus, its grainy look ends up being a purposeful filmmaking choice that makes The Apprentice (2024) feel like something taken straight from the 1970s.

Most importantly, this kind of film wouldn't work without two exceptional performers who feel like they embody Donald Trump and Roy Cohn of the time without simply making plain imitations. Luckily, it's hard to imagine any other actors besides Sebastian Stan and Jeremy Strong playing these roles; they fully command the audience's attention with just a striking look on their faces. Especially Jeremy Strong as Cohn who's the clear supporting standout with the juiciest role to work with; his fierce presence and relentless attitude make him impossible to look away from no matter how cruel he may seem. However, Sebastian Stan provides the perfect balance of feeling like Trump through subtle mannerisms while not doing a full impersonation by using his natural voice with a slight tonal shift. As a result, it helps separate the film's version of Trump from the modern-day version of himself, making The Apprentice (2024) and Stan's performance something that can be thoroughly enjoyed and stand out on its own.

Since this story is clearly told from the mindset of these two snarky individuals, the well-cast and believably performed set of supporting actors like Maria Bakalova as Ivana Trump and Martin Donovan as Fred Trump, they aren't given as much to work with despite having their singular moment. However, this is an intentional decision based on the approach that the film decided to take; featuring a first half with Trump being taught by Cohn and a second half where Trump slowly transitions his personality and firmly takes action from what he was taught. Thus, it makes the second half not as compelling as the first; it starts to feel more familiar and less fresh when the sequence of events turns into highlights of Trump's corrupt actions during the 80s. It doesn't ruin the viewing experience, but it starts feeling slightly redundant which builds up to a conclusion that audiences already know is going to occur.

Despite this, the film remains consistently sharp and witty with a stellar fast pace that prevents it from ever getting boring; it immediately jumps to something new whenever a scene might feel like it's starting to stretch out. It is, however, the first half of the film that doesn't waste any time and immediately hooks audiences to the luxurious but overwhelming side of New York City along with the endlessly enthralling mentorship of Cohn to Trump. The point when the film truly feels like it justifies its existence; by providing a unique directorial perspective to a compelling/unique part of a life from one of the most provocative people in the world. Regardless of how viewers feel about Trump, The Apprentice (2024) still succeeds as a thrilling drama that's not afraid to fully present disturbing and explicit moments of Trump's life to convey its points, its visual look and surroundings feel incredibly authentic to the time period, and its two powerhouse performances portraying beguiling "killers" make the whole film worth seeing.

Verdict

8/10

Still Courtesy – Scythia Films