Based on the 1994 novel of the same name by Christopher Buckley (the son of William F. Buckley, Jr.), Mr. Reitman’s screenplay is less about the “danger” of legal “vices” (alcohol, tobacco, and firearms) than it is a commentary on free speech, free will, and the imposing of arbitrary morality from those who exhibit little or none of the same.
Like Father Like Son
The only part of Nick’s life that he hasn’t quite yet mastered is his relationship with Joey (Cameron Bright), his preteen son who lives part-time with him and Nick’s ex-wife Jill (Kim Dickens). A budding cynic, Joey is suspicious of the ethics and morality regarding Nick’s profession and, like his father, is able to couch his language in a knowing, direct, yet unthreatening manner.Nick dines weekly with the two other members of the “MOD” Squad (Merchants of Death), which includes alcohol lobbyist Polly Bailey (Maria Bello), and firearms mouthpiece Bobby Jay Bliss (David Koechner). While supportive of one another, each points out the number of annual deaths of people using their respective products pales in comparison to fatalities caused by traffic accidents and obesity.
Eschewing the traditional three-act narrative, Mr. Reitman instead divides the story into nine separate vignettes which intertwine for the duration. In addition to time spent with the MODs and Joey, Nick interacts with Zen-like Hollywood wheeler-dealer Jeff Megall (Rob Lowe), “investigative journalist” Heather Holloway (Katie Holmes), former tobacco pitchman Lorne Lutch (Sam Elliott), U.S. Senator Ortolan Finistirre (William H. Macy), Nick’s slimy boss B.R. (J.K. Simmons), and “the Captain” (Robert Duvall), the ailing founder of the tobacco academy.
Avoid the Press
While all of this is going down, Nick accepts a request from the laser-focused, ethically challenged Holloway for a print interview that the MODs strongly discourage, and for good reason. The resulting frank and damning exposé becomes a PR nightmare for Nick, which in turn prods the fair-weather B.R. into making a knee-jerk managerial decision.
At the one-hour mark, Mr. Reitman introduces a jarring but welcome thriller twist that temporarily puts a hold on the satire element, and also underscores his and Mr. Buckley’s ultimate point. This isn’t a “smoking is bad, don’t do it” movie, but rather the unwelcome tisk-tisk finger-wagging from those of self-perceived moral superiority telling other people how to live their lives.
Eating cheese and Twinkies in excess, using tobacco, and consuming too much alcohol probably isn’t good for you. Much the same can be said if you operate a motor vehicle or a firearm incorrectly (or with malice). At the time “Smoking” was made, marijuana was illegal in the United States but now (mostly) is not, but could easily be lumped into the same vice, morality penalty box.
This begs the question: If tobacco, marijuana, alcohol, and guns are so bad, why are all of them (for the moment) still legal? All one has to do is research the failed 18th Amendment passed by Congress in 1919 that was repealed in 1933 because it was a complete failure and impossible to enforce.
You Do You and I’ll Do Me
If we were to eliminate and outlaw everything that rubbed someone else’s morals the wrong way, we’d never be able to leave our homes, watch R-rated movies, or consume anything but tap water and a vegan diet. Choosing your lifestyle doesn’t include doing the same as everyone else.Telling someone they can’t do this or that will only make them want to do it more; it’s basic human nature. When giving people options, most will choose the side of safety, health, or plain common sense.
Eliminate free will and the freedom of choice and you’ll be left with totalitarianism, something that even five years ago seemed unimaginable, yet now is entirely plausible, if not probable.
