the comey rule, review: an unnecessary and undercooked melodrama
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Gosh, its been a long four years! One that has been filled with outrage and constant polarization. Nonetheless, the Trump administration has made people more active and outspoken in politics, no matter what side of the fence you land on. However, Showtime feels now is the right time to release a four-part (or two-part depending where you live) docudrama based on former FBI director James Comey’s memoir. Directed and written by Billy Ray and starring Jeff Daniels as Comey and Brendan Gleeson as Trump, this miniseries does little to expand upon what is already known in the public sphere.
Comey has remained a figure of intense dislike from both sides. Hilary Clinton and Democrat supporters dislike him for his role in the election, one that many consider cost her the role of President. Meanwhile, Trump and Republican voters loathe him for his part in the investigation into Russia. And this miniseries will dissuade no one from their political standing.
The first half deals primarily with the 2016 election and Comey’s handling of the Clinton email scandal, whilst the second half is concerned with his unusual relationship with President Trump. Simultaneously, it interweaves Comey’s family life and the impact it had on him career wise and personally.
There is certainly an interesting story here. Comey’s dealings with Trump became reality tv of its own, as everyone watched closely to see the next piece of the puzzle unwrapped. This is perhaps why the show does not work. The public are aware of everything that happened since this was barely 3 years ago. If this were made 20-30 years in the future, then perhaps it would pack more of a punch. Yet, everyone knows what happened due to the spectacular sensationalism of this administration. It is partially why television series like ‘House of Cards’ and ‘Veep’ have come to a close. There is simply no room for political melodrama when currently, politics are melodramatic in of itself.
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Why is this story necessary now? Is it because of the election and the worry Trump will be reelected? An epigraph at the end states that Russia are likely to collude in this election. But most people are aware or just not willing to accept that information? Is it to give more a humanistic picture of Comey? If so, it does not really succeed in that. He is an honorable director who was well liked in the FBI. Great! Why is he the way he is? Why is he honorable and loyal? There are some vague hints at his past but not enough to warrant empathy with him. It comes across as an overtly, fawningly, written portrayal of the man. It is a strange mess of a series that seems both dated and too soon.
It is a shame given the talent involved. Jeff Daniels is a wonderful actor and he gives a fine performance as Comey. And Brendan Gleeson manages to escape the trappings of a mere Trump impersonation. Whilst I did laugh at his introduction, its genuinely an effective performance, not veering into Alec Baldwin levels of mimicry. Conversely, actors like Holly Hunter and Jonathan Banks are sadly wasted in their roles. Though I have to say, I was surprised at Joe Lo Truglio’s brief, but surprisingly effective performance as Jeff Sessions.
There is also a strange framing device of then Deputy Attorney General Rod Rosenstein (Scoot McNairy) who narrates the series during his final day in office back in 2019. It feels completely unnecessary, only there to add to Comey’s ego. There is even a laughable scene in which he picks up Comey’s memoir and talks about how it is an essential political document. Again, considering the underdeveloped relationship between Comey and Rosenstein, it never feels like it should be there.
The whole thing is taken far too seriously. The reason why shows like ‘Saturday Night Live’ have thrived is because of the absurdity of politics today. When Comey is informing Trump of the infamous “golden showers” intel, Ray could have done more to make the scene more comedic, given its ridiculous context. It feels like the story (especially now) would have felt better in the hands of a satirist, like Armando Iannucci. Yet, it feels like a knockoff of a Kathryn Bigelow thriller, without the impact.
Ray is not an incompetent director, and the inspired acting and cinematography do help its sluggish nature. But it never elevates the already touchy material, nor does it feel like it deserves a place in the history of great political dramas.
