[Marxism] Review: ‘The Confidence Man’ Finds Trump’s Business Image Was Made for TV
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Fri Jan 26 10:40:28 MST 2018
NY Times, Jan. 26, 2018
Review: ‘The Confidence Man’ Finds Trump’s Business Image Was Made for TV
By JAMES PONIEWOZIK
Donald J. Trump’s boardroom in “The Apprentice” was like something out
of a movie. Specifically, “Network.”
In the Netflix documentary “The Confidence Man,” two “Apprentice”
producers say they found the actual Trump Organization offices too dated
and dowdy for TV. So they built a set in Trump Tower, modeled on the
darkened lair where the mogul, Arthur Jensen (Ned Beatty), dresses down
the rebellious newsman Howard Beale (Peter Finch), howling, “The world
is a business!”
That’s what reality TV does: It set-designs locations (a “Survivor”
island, a “Bachelor” love nest) to look more convincing, more in line
with our mental cartoons than the real thing.
“The Confidence Man,” a swift, brutal overview of Mr. Trump’s business
career, argues that he had been doing the same thing with his image for
decades: He wasn’t a business titan so much as he played one on TV.
The film, directed by Fisher Stevens (“Bright Lights”), is the last
episode of a six-part anthology, “Dirty Money,” from the filmmaker Alex
Gibney (“Enron: The Smartest Guys in the Room”), arriving Friday. The
installments range from an infuriating look at payday lending to an
offbeat story about Canadian maple syrup cartels.
The common thread is the abuse of trust. And “The Confidence Man” argues
that the problem goes all the way to the top.
Mr. Stevens’s narrative starts with Trump Tower, the gleaming metonym
Mr. Trump hung his name on in brass letters. The splashy project landed
him on talk shows and magazine covers as the photogenic shorthand for
That served his other big 1980s construction effort — his media image,
for which he poured the foundation in the New York tabloids. The gossip
columnist A. J. Benza recalls Mr. Trump as a regular source, offering
juicy tips with only one condition: that he be referred to in print as a
TV reports picked up on the description and embellished it, and Mr.
Trump smiled and let them.
“The Confidence Man” interviews old friends, like the music mogul
Russell Simmons, and associates like Barbara Res, the executive in
charge of the Trump Tower construction, who remember his mythmaking
bemusedly. Compared with real estate families like the Zeckendorfs, Ms.
Res says, “Who was Trump? He was nobody.”
Maybe Mr. Trump wasn’t the biggest developer. But he was the most
visible, and he banked on people taking one for the other. (A later ad
for Trump University declared, “Donald Trump is, without question, the
world’s most famous businessman” — trusting the audience to read that as
Banks threw money at his celebrity, and he spent it on high-visibility
purchases: an airline, the Plaza Hotel, a football team, casinos.
When it all went bad by the early ’90s, fame was his guarantor. His
creditors, who needed the Trump brand to survive in order to get paid
back, put him on an allowance to keep up a glitzy front.
Mr. Trump, the film argues, has thrived by finding partners — in
finance, reality TV, politics — who were as invested as he was in
propping up his image.
Mr. Trump’s self-inflation has been covered before. In the 2005 book
“TrumpNation” the former New York Times reporter Tim O’Brien, who
figures heavily in this documentary, concluded that Mr. Trump was worth
mere hundreds of millions, not billions. (Mr. Trump sued him for libel,
unsuccessfully.) But “The Confidence Man” is useful for how it separates
out the business thread from the recent tangle of “How we got Trump”
When Mr. Trump’s business became licensing his name to others, he
essentially turned into a mascot. He showed up on sitcoms and did
fast-food ads with his ex-wife Ivana and Grimace from McDonald’s. He was
his own Col. Sanders, personifying the herbs and spices — glitter,
ambition — that “TRUMP” in big brass letters stood for.
That made him a perfect host for “The Apprentice,” whose premise was
that Mr. Trump was a legendary businessman and desirable boss.
TV fame opened up other opportunities, and the last half of “The
Confidence Man” detours into dark intimations about Mr. Trump’s
partnerships with businessmen from former Soviet republics and his
alleged self-enrichment as president. It also re-examines the fraud
case, later settled, against Trump University that his opponents tried
to make stick to him in the 2016 campaign.
But the film’s larger case is against the reasoning that helped elect
him: He was the most famous businessman, therefore he was the best
businessman, therefore — following the logic of Mitt Romney and H. Ross
Perot before him — he would be the best president. “He’s managed
businesses,” one voter quoted in the film says, “and I think he can
manage this country.”
You could, of course, argue that branding and the ability to leverage
illusions are valuable skills themselves. You could agree with Arthur
Jensen that the world is a business. But the forceful conclusion of “The
Confidence Man” is that Mr. Trump’s world is, and has always been, a stage.
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