Charlie Wilson War movie overview

Although his name might not be known to many outside of East Texas, otherwise unremarkable congressman Charlie Wilson and an unlikely team of cohorts made history in the 1980s according to the new, fact-based film Charlie Wilson’s War. Their covert operation helped Afghan rebels rout the occupying Soviet military, and in a domino effect, hastened the end of the Cold War and ultimately contributed to the fall of the Soviet Union. Quite a history lesson! But Charlie Wilson’s War is also a whip-smart piece of comic entertainment that explores the convoluted world of international politics and the many foibles of its all-too-human players.

Based on George Crile's best-selling book, Charlie Wilson's War boasts three Oscar-winning actors (Tom Hanks, Julia Roberts and Philip Seymour Hoffman) and crack screenwriter Aaron Sorkin (The American President, TV’s The West Wing)—all under the helm of legendary director Mike Nichols. This high-powered team fires on all cylinders to tell the true story of how a literal “Good Time Charlie” congressman (Hanks), a powerful and beautiful Houston socialite (Roberts), and a street smart, rebellious CIA operative (Hoffman) come together—for very different reasons—to help oust the Soviets from Afghanistan. What resulted, to everyone’s surprise, was the largest and most successful covert operation in U.S. history—the effects of which are still being felt today.

Although not a comedy per se, screenwriter Sorkin milks steady—and often ribald humor—from the situation, relying on colorful characters and a knowing eye for the absurdity of political wrangling. Charlie Wilson was an unmarried, playboy congressman who was known mostly for hard partying and being re-elected five times from a sleepy Texas district. His habit of cavorting with strippers and cocaine kept him constantly on the edge of scandal. But Charlie, a conservative Democrat, was also fiercely patriotic, had a keen mind, and harbored a soft spot for the little guy, whether in his district or in Soviet occupied Afghanistan.

The plight of the Afghan people under Russian occupation had already caught Wilson’s eye by 1980. But it was Joanne Herring (Roberts)—his friend, socialite, political supporter and occasional lover—who convinced Charlie to make Afghanistan’s resistance his cause, arranging a trip for him to see firsthand the conditions of Afghan refugees and the spirit of the Mujahideen (Afghan freedom fighters). When disgruntled CIA agent Gust Avrakotos (Hoffman) is brought onboard, the three finagle, schmooze and call in favors to fund and arm the Mujahideen. Along the way, they forge unlikely alliances between Israel, Egypt, Syria and others by playing on the self interest of each and their shared desire to see the Soviets repelled. Over time, the cost of the covert “war” waged by Charlie and crew grows from $5 million to $1 billion and results in the Red Army's retreat from Afghanistan.

Not only does Charlie Wilson’s War reveal a little known chapter in history, but it also offers a fascinating look at how even the most flawed tool can sometimes be used to achieve great ends. One is reminded of the deeply flawed Ulysses S. Grant’s singular success at war or ancient Israel’s hallowed, but flawed, King David. Wilson, Herring and Avrakotos were imperfect vehicles with very different motives who came together for a common, greater goal. Charlie, who always championed the underdog, was deeply moved by the people of Afghanistan and the horrifying conditions of the refugees. Herring, on the other hand, was as devoutly Christian as anti-Communist. She felt it was her Christian duty to oust the “godless” Soviets. And for his part, Avrakotos simply wanted to kill Russians—a far from noble motive.

Finally, almost as postscript, the film looks at the often unforeseen consequences of all human actions, particularly political and military. By backing the Mujahideen, Charlie's covert war shifted the balance of power and set the stage for the rise of the Taliban and Al Qaeda in Afghanistan. And by botching the “end game” of necessary reconstruction—rebuilding schools, hospitals and infrastructure—they fostered the simmering resentment of the “meddling” west which contributed to the horror of 9-11. The film also forces Americans to consider the consequences of our current military presence in Iraq, and how we, like the Soviets in the 1980s, have caused scores of Iraqis to become refugees—some maimed and left childless or parentless. The cycle of history again feels distressingly familiar. If only we could learn from it