Trump Card (2020)
After a long and bittersweet relationship, I think it’s finally time for me to part ways with Dinesh D’Souza. The conservative author, pundit, and director of intellectually dishonest and slimy documentaries has given me so much to unpack over the years. D’Souza reigns unopposed as one of the worst filmmakers, let alone an incompetent propagandist, and has ruled my annual Worst Films of the Year lists (2012, 2014, 2016, 2018). Seriously, if it was an even year, you could expect a D’Souza doc to have a slot already in preparation on my list. Not even Friedberg and Seltzer have that many dishonorable mentions. He rose to fame as the “reasonable critic” of President Obama but if you watched his films, you’d know D’Souza’s assertions were anything but reasonable. As I concluded with 2018’s Death of a Nation: “He is not a man who tells truth to power but a man who willfully distorts the historical record in order to make people feel better about unhinged political takes that have no bearing in reality. It is people like D’Souza that have led the way for the coronation of Donald Trump, and it should be people like D’Souza who are put to blame when that experiment crumbles.” That is why, dear reader, I think it is finally time for me to step away from the trough of righteous outrage and be done with the disingenuous D’Souza as a filmmaker deserving of even one iota of passing thought. I can only hope with the 2020 election on the near horizon, that America will likewise put to bed the man in the Oval Office and, by extension, D’Souza’s relevancy. But let’s dive in, one last time America, into the bad faith arguments, armchair psychology, racist projection, historical revisionism, crippling persecution complex, fear mongering, and endless shots of D’Souza wandering the sights while looking so contemplative with pursed-lipped, faux concern. It’s Trump Card, one of the worst films of 2020, and hopefully the last D’Souza film for me for the remainder of my days.
I think the opening scene is fittingly indicative of D’Souza’s blatantly fraudulent arguments and willful ignorance. It’s a recreation of an interrogation from George Orwell’s famous dystopian novel Nineteen Eighty-Four. Orwell is an interesting choice here considering he was a journalist (strike one), liberal author (strike two) and anti-fascist (strike three), but the general associations of the novel are so ingrained that it becomes a stand-in for any sort of Big Brother state critique. Orwell’s classic story follows an authoritarian government that tells people what to think, to not trust their eyes and ears but simply the proclamations of the State. Where D’Souza goes amazingly off the rails is when he tries to purport that it’s the Democrats who are the evil Big Brother at work trying to brainwash good, honest, God-loving Trump voters into turning against objective reality and swallowing the lies of Dear Leader. Just contemplate that appraisal. In the face of Donald Trump, a man who LITERALLY told his supporters not to listen to their eyes and ears and only to him, a man who has been documented lying over 20,000 times since coming into office, including such obvious and absurd statements like having the biggest inaugural crowd in 2017 or whether it was raining, a man who constantly distorts reality to his petty whims, and D’Souza says it’s really the Democrats who are the dangerous brainwashers. This staggering misreading of Orwell’s political commentary would be hilarious if it weren’t so pathetic and facetious. This telling anecdote perfectly sums up the lazy rhetoric of D’Souza.
It’s hard not to wonder what the larger thesis is here. D’Souza has never exactly been a filmmaker of scholarly heft but his prior films at least presented a through line to hold onto. I thought Trump Card was going to be a conservative case against socialism but D’Souza can’t fully commit 90 minutes to that cause, and so the movie becomes yet another slipshod attack on any and all familiar targets of conservative agita. We’re told socialism is bad, capitalism is good, and through selective examples it’s reconfirmed. Never mind the socialism of Scandinavia, let’s focus on the failed state of Venezuela while ignoring its history of colonialism. We’re told Democrats hate all capitalism, but D’Souza once again conflates free market capitalism and crony capitalism, a sociopathic system unchecked by regulation and rampant with corruption and abuse. We’re told that China is bad, though they’ve introduced features of capitalism so now they’re maybe not as bad, but they gave us COVID19, so they’re still bad, I guess. We’re told the protesters of Hong Kong who want transparency, reforms, and democracy are good, but Black Lives Matters is a cesspool of “thugs” and anarchists without a just cause of reform. We’re told “antifa” didn’t oppose Nazis in Germany but the “center-left,” which makes no sense whatsoever. We’re told Democrats can’t get enough of late-term abortion, when that’s not even a thing. We’re told climate change can’t be that big of a deal because Joe Biden has a beach house so, ergo, he must not worry about rising coastlines. We’re told that the early response to COVID19 was a failure of socialism, when it was the federal government’s cowardly and calculated hands-off approach that turned the purchase and distribution of life-saving medical supplies into a feeding frenzy of capitalistic excess, pitting state against state for scraps.
Amazingly, D’Souza praises Donald Trump as a symbol of capitalism, a man born into wealth, who inflated his assets to get out of taxes, who went bankrupt four times, whose own charity was shut down and declared an illegal racket to line his family’s pockets, who regularly stiffed his contractors, who has been hounded by lawsuits, and who slapped his name on any rickety scheme he could profit. Again, D’Souza has stupendously rear-ended into an insight that he intended to disregard. Donald Trump is a neon orange symbol for the farcical excess of crony capitalism.
One of the weirder detours is when D’Souza decries “identity politics” when he’s been steeped in this stuff since his first movie. He lambastes Democrats for, essentially, having an inclusive voting base with diverse interests. Republicans like to still cling to the idea of their party being a “big tent,” but from a demographic standpoint, they are shrinking and only gotten whiter, older, and more male. It’s more the party of one very specific kind of America. Some of D’Souza’s taunts are simply snide and juvenile, like deriding young people for “their pronouns” and the idea of being gay now becoming “an ideology” (you know, like being heterosexual is an “ideology”). In one breath D’Souza doesn’t want “identity to define anyone” but ignores that the Republican Party has become a cult of personality rejecting any contrary thinking. Their 2020 party platform was merely one page and amounted to: “Whatever Trump says.” Choosing not to recognize our natural differences is dishonest. As a white man, my experiences are going to be markedly different than a black woman, and acknowledging this isn’t some sign of weakness or pandering, it’s merely a recognition that our differences are not trivial. It’s similar when people say “I don’t see color” as a misplaced virtuous sign of how liberal-minded they are.
The spurious interview subjects are prone to making wild accusations, aided by D’Souza’s famous leading style where he practically recites the words he wants to hear. A former radical Muslim says he challenges anyone to find a jihadist that would vote for Donald Trump (counterpoint: The Taliban has actually endorsed Trump for 2020). This same man calls Rep. Ilhan Omar as “ISIS in lipstick” without any supporting evidence. The interview subjects are not exactly compelling experts. Why is Isaiah Washington, the man infamously fired from Grey’s Anatomy for using homophobic slurs, an expert on Hollywood oppression? Why is D’Souza’s own daughter and wife, each with a book ready to be peddled, experts on anything? Did D’Souza not have any other relatives he could call on to become instant world affairs experts? Some of these people are well-meaning and with a perspective that merits consideration like a grieving father from the Parkland school shooting, but others are laughable on their face for being included. Larry Sinclair swears he smoked crack and performed oral sex on Obama (“He came back for seconds”), and D’Souza intones that this “allegation” (repeatedly disproven with no evidence) deserves the same level of attention as Stormy Daniels with Trump. Never mind that Trump’s affair wasn’t a scandal because of his moral failing (a thrice-married man known for womanizing) but because of the financial fraud of covering it up before the 2016 election, which sent Trump’s own attorney and personal fixer, Michael Cohen, to jail. Even if the crack-smoking Obama BJ guy is right, and he’s definitely definitely not, who cares if Obama had a gay experience before he was elected president? I guess the association itself is supposed to be unseemly, but it’s D’Souza’s inclusion of such a baseless smear, the unchallenged details of which garners the film its PG-13 rating, as a means to revile this audience and stoke confirmation bias about the mainstream media that’s really unseemly.
D’Souza is all-in on the big kooky Deep State conspiracy to entangle Donald Trump’s presidency, never mind that an impulsive businessman who prefers chaos needs help to falter. I could barely keep up with the barrage of names and dates and accusations, trying to connect the dots with a messy conspiratorial plate of spaghetti. Once they reach the silly Ukraine accusations of impropriety with Joe Biden, the same talking points that the Kremlin parrots, the same groundless stuff that Trump got impeached over in 2019, I started zoning out. D’Souza champions Michael Flynn and George Papadopoulos (both pleaded guilty) and Roger Stone (convicted by a jury) as victims of an abusive surveillance state. He lets Papadopoulos and his wife dramatically revise his criminal history, re-imaging himself as a martyr who was forced to speak against Trump by a vindictive FBI. And yet multiple Justice Department and Congressional investigations over the origins of the Russia probe have reaffirmed, repeatedly, conclusively, even when run by Republican Senators, that the FBI investigation was warranted and correct in its conclusions. Donald Trump doesn’t need anyone but himself to get into trouble. No conspiracy is necessary for a perennial screw-up.
I’m all but certain that D’Souza had to radically retool Trump Card as the year progressed. This is the latest any of his election-timed documentaries has ever come out; he usually prefers the cushy position of mid-to-late summer releases. My working theory is that he was heavily planning a documentary about the evils of socialism with a Bernie Sanders as the Democratic nominee for 2020 as its focus on where the Democrats are taking the country. It’s much harder to paint lifelong centrist Joe Biden as a dangerous radical, and it’s equally hard to say the crazy leftwing radicals are taking over the country when they couldn’t even win the party nomination. Then an early trailer for Trump Card over the summer was constituted entirely by footage of rioters, burning buildings, broken windows, and the presumption that D’Souza’s film would focus on the dangers of a growing protest movement that summer. He still gets some hits in but the widespread protests for police reform and racial justice in the wake of George Floyd’s murder have not been the source for civilization being upended. I’m genuinely surprised D’Souza didn’t feature more of the ongoing battles with the unmarked private army sent to harass and beat Portland protesters but that might have harmed his message that Biden will lead to civil unrest when the images of civil unrest are happening live in Donald Trump’s America. Trump Card feels overwhelmingly like it’s coasting and that D’Souza is falling back on old arguments, old foes, and old tricks. D’Souza can never get enough of Abraham Lincoln re-enactors, gauzy stock footage of sunsets and wheat fields, and his wife singing renditions of public domain patriotic songs. After five movies, it just all feels so stale, so tired, and so inept and lazy, even for its own select audience. “President Trump reminds me why I first came to America,” says D’Souza early in the film, drawing a deep belly laugh from me. I feel about D’Souza’s oeuvre of terrible, shameless documentaries the same I feel about Trump as a president: exhausted by it all. I’m ready for both to go away for good.
Nate’s Grade: F