I think it’s fair to say that most of us have a political philosophy that falls somewhere between conservative and liberal. However, especially of late, we have all become aware of people who subscribe to what many perceive as extremist views. Such views have existed for as long as people have formed societies. The fact remains that many of us probably do not fully comprehend the philosophies that underpin such “extremist” political stands.
An object lesson of one such view is brilliantly offered in the movie Sovereign, currently available on Prime Video.
Based on the true-life story of Jerry Kane, the film vividly portrays a sovereigntist — a man who refuses to subscribe to generally accepted societal norms and who regards the government and its rules as an organized conspiracy to take away individual freedoms and sovereignty.
Thus we see Kane refusing to accept such things as police enforcement of traffic regulations and banks’ demands to observe the strictures of mortgage requirements. Further to this, Sovereign also shows Kane’s determined efforts to raise his son to accept and live by that same philosophy.
It is perhaps easy to dismiss such thinking as extremist and little more than a harmless abnormality. The fact is that in the U.S. many thousands subscribe to it — and the likelihood is that many Canadians are part of the same political strain.
However, to see the film as simply a political tract is to do it injustice. It is a gripping and mesmerizing drama. In large measure, this is achieved by making the film as much a commentary on parenthood as on political agendas.
In a contrasting and dramatically vital subplot, one also sees a policeman (Dennis Quaid) interacting with his baby son, trying to cope with the demands of fatherhood while performing his duties. Set against this, one learns that Kane himself has experienced a family tragedy — one which may explain much about the development of his political philosophy. This makes for some challenging questions about fatherhood.
As one watches Kane interact with his son and sees the narrative move towards what one knows must be a tragic climax, one is torn between sympathy and anger, between compassion and rejection. It is a stunning journey.
That journey is made even more effective because of the film’s artistry. Nick Offerman, as Kane, turns in a beautifully nuanced performance, by turns annoying, moving, humourous, and provocative. He is ably supported by Jacob Tremblay as the son, torn between his own instincts and his wish to support his father. At the same time, Christian Swegel directs the film with an ever-increasing intensity and dramatic flair.
At the end of it all, regardless of one’s political views, Sovereign remains a challenging and dramatic commentary on part of today’s political reality — a reality about which it is important that we arrive at informed understanding. After all, it is part of the political landscape through which, as voters, we must navigate. Sovereign proves that politics and entertainment can indeed make for worthwhile viewing.
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