‘The Apprentice’: The origin story of Donald Trump, a man lacking his own ideology

There are countless potential films about the controversial figure and complex life of Donald Trump, and The Apprentice, directed by Iranian filmmaker Ali Abbasi, is just one of them. It is by no means the definitive portrayal, and perhaps it is one of the least damaging for the former president at a pivotal moment in his life, especially as he seeks to win the U.S. election in just a few weeks.

However, Abbasi’s work, co-written by political audiovisual specialist Gabriel Sherman, offers enough political, social, and dramatic intrigue to warrant attention. It provides a glimpse into the making of a deeply flawed man who, despite everything he says and does, continues to attract a legion of devoted fans willing to go to great lengths for him — including helping him become the leader of the most influential country in the world for a second time.

The film is clearly divided into two almost equal halves, reflecting the eras in which it takes place: the 1970s under Richard Nixon and the 1980s under Ronald Reagan. This division is evident in the photographic style and staging, with hard grain and stark colors evoking the cinema of the 1970s, while the 1980s are characterized by dull and intentionally horrendous aesthetics reminiscent of television series from that era. The protagonist’s attitude also shifts between these two periods.

The Apprentice explores the political, economic, and personal relationship between the thirty-something Trump and the powerful lawyer Roy Cohn. Cohn not only guided Trump to his first business successes but also served as a master of predation, shaping Trump’s ideas, practices, and ambition. As the film reveals, these traits were not, despite Trump’s repeated assertions, part of his inherent nature.

One of the film’s most compelling revelations is that, after two hours of exploring the vampiric nature of power, it becomes clear that neither Trump’s persona, mentality, and ideology are authentic. Instead, they are little more than a vulgar imitation of those belonging to the mafia lawyer, Roy Cohn. During that time, Trump was caught between being the good guy and a puppet, grappling with an inferiority complex stemming from his relationship with his father. When he encountered Cohn, he saw in him the qualities he wished were part of his own identity, ultimately copying him to the point of losing his own sense of self.

This dynamic adds a dramatic layer to a narrative that transcends those years and even the United States. The illegal recordings that brought down Nixon and enabled Trump and Cohn to amass wealth share a commonality with the scandals we now encounter in our daily political reality. Corruption and a relentless thirst for power are universal themes that resonate across time and borders.

Cohn — played by Jeremy Strong with a magnificent physical, vocal, and visual presence — was the man who, amidst international turmoil, put the Rosenbergs — the couple accused of spying for the Soviet Union — to death in the electric chair. This bitter chapter in history has been recounted in countless books, films, and even songs. Cohn was a powerful and homophobic figure who died of AIDS and inspired Tony Kushner’s acclaimed play and subsequent television series, Angels in America.

In The Apprentice, Cohn emerges as the truly captivating character, reflecting much about Trump — albeit in a negative light — according to the theory put forth by Abbasi (director of the compelling films Border and Holy Spider) and screenwriter Gabriel Sherman. In 2019, Sherman also explored another iconic figure of power, Roger Ailes, Fox News CEO, in the brilliant series The Loudest Voice, starring Russell Crowe.

The Apprentice borrows heavily from the staging of Succession, employing questionable mini-zooms meant to create rhythm and a sense of vertigo, techniques that ultimately muddle the dialogue and distract from the characters. Nevertheless, the film does humanize Trump, which is important because, after all, he is a man and not a monster. However, it never attempts to gloss over his flaws. In a devastating second act, the film portrays him as a vile and insensitive individual, likening him to a rapist who only seeks gratification aboard Air Force One.

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