As a film about contemporary essay filmmaking and its artistry, Vice tells the story of Adam McKay, the director, who tries to get inside Dick Cheney’s heart, one of the most ruthless Vice Presidents in history. The film shows Cheney as politically sharp but mysterious, and his “assassination” is played for comedic effect. We see Cheney’s motivations and political moves through McKay’s unique mix of humor and information.

Even though character development is limited, the film touches on Cheney’s personal life, like his relationships with his wife and daughter. However, McKay mainly uses these moments to explore what he thinks Cheney is like, metaphorically examining Cheney’s heart, literally and figuratively. There is a scene where a doctor places a patient’s blocked organ on the table, indicating Cheney’s hidden heart and challenging his humanity as someone who exerts tremendous force. The quiet intellectual of Vice is how it remarks on Cheney’s acts and what they represent on a wider human level.

McKay transformed narrative in media. Beyond The Big Short, he demonstrated his ability to craft complex themes into compelling films, making topics like executive decision-making, journalism, the mortgage crisis, and catering engaging and accessible. Furthermore, he did not hesitate to explore topics Hollywood would shy away from due to their complexity.

He consistently challenges viewers to reflect in Vice. A talented cast follows Cheney’s journey from a humble Wyoming kid to the secret force behind the president’s throne as McKay explores the 9/11 tragedy. Christian Bale’s outstanding performance, which included convincing makeup and putting on forty pounds, gives Cheney’s mysterious persona more nuance.

The film shows key moments in Cheney’s life: from his wife Lynne telling him to straighten up after a drunk-driving incident in 1963, to his stint as a White House intern for Chief of Staff Donald Rumsfeld under Nixon. These events trace his journey from a simple, small-town guy to a sharp political strategist. McKay’s storytelling brings historical events to life, making them engaging and relevant for today’s audience.

McKay likes to challenge his audience by smartly involving them in the stories he tells. He has become a cultural pioneer, reshaping conventional storytelling through essay filmmaking. He has taken the essay film and made it something that hooks viewers from start to finish, blending history with biographical insights that make the subject endlessly fascinating.

McKay’s work is one of modern filmmaking’s most exciting and innovative. Regarding essay films, there is a clear distinction between the audience and the medium, and platforms like YouTube show just how interdisciplinary a film essay can be. That said, defining what exactly a film essay is can be tricky. Usually, the filmmaker takes on the role of narrator or voice-over during editing, and their voice shows up not just in the script or production but also in the final product.

Most film essays take a personal approach and blur the line between fiction and documentary. Essay filmmakers often create a distinct persona, building a direct connection with the audience. Unlike traditional fictional stories, where viewers might forget the author exists, the film essay intentionally reminds you from the start that someone is shaping the story.

Besides being a crowd-pleaser, the essay film tries to avoid feeling like the story is being manipulated. Instead, it acts like a mirror, prompting viewers to notice the construction and editing with a broader perspective. The core of film essays is to get the audience thinking. Lots of students might write college papers without enough evidence. However, Hans Richert points out that essay films have access to richer expressive tools than documentaries, letting them make even dry topics entertaining and imaginative.

McKay has a knack for entertaining and captivating even the most boring subjects. Because the term “film essay” is so ambiguous, its definition can be difficult. French Renaissance philosopher Michel de Montaigne coined the word “essay,” meaning “to try” or “to attempt.” His entire focus was on trying new things and evaluating concepts, which prompted French New Wave essayists and filmmakers to experiment with their own film essays.

Alas, he gets into an ambitious creative blend of characterizing the facts in Vice. Scenes from Shakespeare on show for entertainment, but a persuasive essayistic film that speaks would make one pause at least to the possible story of the audience.

In a clever little move, McKay also uses the eyes of a deceased soldier in Vice to tell a portion of the story, keeping the soldier’s identity a secret until the very end. The tension increases when Cheney is asked to be George W. Bush’s running mate. He initially declines, which only increases Bush’s desire for him. Cheney chooses to live a more subdued life with Lynne and accumulate honors, avoiding politics for a while. Eventually, though, he reluctantly returns to the political game by leading a committee to select Bush as the “ideal” vice president.

Unveiling different possible versions, some more probable than others, the heart of Vice lay in its search for the truth. With its murky atmosphere plunging into uncharted waters, the film tests itself as a work of art and whether this qualifies as an essay film in contemporary terms. McKay reaches out to the audience in a way that forces them to think about the complexities of a character like Cheney. It is an experiment that seeks to incite opinions and interpretations from the viewers.

Beyond traditional filmmaking, video essayists online show just how versatile and wide-ranging the essay film can be. Covering everything from politics and books to painting and society, they highlight the form’s impact and influence in today’s discussions.

At first glance, Vice might feel like it is channeling Oliver Stone’s signature style. However, the film digs into Cheney’s rise to power after 9/11. Once Cheney enters the White House, McKay takes a straightforward approach to showing how he controlled events behind the scenes. At the same time, McKay avoids making us emotionally invested, showing his no-holds-barred animosity toward Cheney. His editing techniques are sharp tools that make this work.

As a result, you get sucked into the story, forgetting that Christian Bale or Jesse Plemons is even acting. Vice feels like a subjective political documentary wrapped up as a film essay. By the end, you start to see Cheney as a dangerous, cold-blooded, unlikable guy. It is unclear who McKay is trying to convince, maybe Cheney himself.

It is not simply a reminder that Vice creates for its viewers regarding the tragedies in the early 2000s. McKay opens creative doors politically outside one’s perspective, and challenges forms. To the viewer, the film raises many questions. Among these are: Did it help jog your memory of the Washington power play, the war for the TV ratings? Would you like to believe that Cheney had excessive gearing on his part in pushing for an illicit war as vice president? McKay makes his point about Cheney’s hidden drives through a parade of asynchronous images.

Sure, the audience tends to side with McKay and the perspective Vice presents, but the film also digs into the real complexity of the situation. It goes beyond recounting historical events to become a thought-provoking exploration, carving out a space for essay films, which are growing fast, both online and in academia.

References

  • Alter, N. M. (2018). The Essay Film after Fact and Fiction. Columbia University Press.
  • Corrigan, T. (2011). The Essay Film: From Montaigne, after Marker. Oxford University Press.
  • Gellman, B. (2008). Angler: The Cheney Vice Presidency. Penguin Press.
  • Hayes, S. (2007). Cheney: The Untold Story of America’s Most Powerful and Controversial Vice President. HarperCollins.
  • Lopate, P. (1992). In Search of the Centaur: The Essay Film. In M. Renov (Ed.), Theorizing Documentary (pp. 243–270). Routledge.
  • McKay, A. (Director). (2018). Vice [Film]. Annapurna Pictures.
  • Rascaroli, L. (2017). How the Essay Film Thinks. Oxford University Press.
  • Renov, M. (2004). The Subject of Documentary. University of Minnesota Press.
  • Scott, A. O. (2018). Review: In Vice, Christian Bale Plays Dick Cheney as a Movie Monster. The New York Times.