Cara's Wag Reaction

“War is show business that’s why we’re here!” These words spoken by the protagonist Conrad set the premise for Wag the Dog, a film epitomizing a simulated war all in the efforts to cover up a presidential scandal before the elections. The professional political spin-doctor Conrad and the unappreciated (but filthy rich) Hollywood producer Stanley team up to create a media fueled illusion that sways a nation. Conrad uses powerful rhetorical devices and conceives the plans for the ‘war’ whereas Stanley appeals to the visual senses and uses pathos to persuade the nation. This dream team not only persuades the American nation to reelect the fictional president, but the duo also gains the sympathy of the audience despite their blatantly corrupt plans.
“I just said that! There is no B-3 bomber. I don’t know how these rumors get started,” (Conrad). Conrad first decides to cover up the president’s scandal by creating a much bigger distraction for the American media. He puts the notion that there is some sort of terrorist threat by ironically denying the bomb’s existence. This tactical approach of using the modern American’s largest fear to distract turns into an entire war that does not exist. This is one example of Conrad’s scheme to create a conspiracy, which is uncannily similar to the methods used by Stalin to create a communist regime e.g. scare-tactics, biased reports, scapegoating, etc. Conrad is the rhetorical genius behind the plans and persuades even the CIA that the conspiracy is for the best.
Whilst Conrad is the true verbal politician, Stanley appeals to the visual senses through his production of the bogus war on Albanian terrorists. Stanley’s job is to know what audiences want and this is his biggest work because his audience is every American voter. “This is the greatest work I’ve ever done in my life—because it’s so honest,” (Stanley). This statement drips with irony. Stanley forgets the fine line he crossed in assisting to create this war. Stanley forgets they were not just creating an imaginary world, but indeed a true simulation of one. Stanley (and even the audience) are so caught up in this imaginary setting that the true affects of this ‘war’ are forgotten. Stanley’s lust for credit leads to his inevitable doom as he realizes this war is not just a game. Despite the horrible conspiracy created, the audience mourns the death of Stanley, which in itself is an example of how persuasive he is unintentionally.
This movie is clearly a satire on corrupt politics and conspiracy, but it raises an interesting question. As an audience, why do we always sympathize with the protagonist? In this instance Conrad and Stanley have us on the edges of our seats every time they get into a sticky situation. When the CIA pulls them over and Winifred (the woman who hired Conrad) starts panicking, we find ourselves panicking with her. This movie questions our conceptions of a ‘hero’, when our ‘heroes’ of the movie are stuck on the plane with their ‘war hero’ who turns out to be a nun-rapist. If “Three Little Pigs” or “Little Red Riding Hood” had instead the wolf as the protagonist we would find ourselves upset that those pigs tricked him into a pot, or that the wolf did not get to eat the tasty Little Red. Wag the Dog reminds us how easily we can be persuaded whether by the politicians, media, or even just the story of our protagonists.