Naturally it’s Your Name that Counts

The Walker

Everyone loves a Scandal

Everyone loves a Scandal

Paul Schrader’s tale of scandal and sexual intrigue…

The Walker is stylish and superbly written film by Paul Schrader, director of such disturbingly transgressive movies as The Comfort of Strangers and AutoFocus. Like his other films, Schrader’s classic murder mystery focuses on eccentric characters embroiled with dubious sexuality and moral deviancy set in modern day Washington DC. Woody Harrelson takes the role of Southerner Carter Page III, an effeminate companion to the wives of senators and power-hungry politicians escorting them to elegant social occasions in the American Capital’s array of Embassy receptions and Gala Operas.

Vain, witty and immaculately dressed in cufflinks and double breasted suits, Carter Page is a throwback from a more genteel age, playing canasta at a discreet hotel every Wednesday with his close circle of lady friends, played with great luminosity by such talented actresses as the wry Lily Tomlin, the husky-voiced Lauren Bacall and the delicately elusive Kristin Scott Thomas.

When one of these friends is seemingly involved in a murder, scandal is imminent and Carter decides to play devil’s advocate trying to protect his friend, Lynn Lockner, a senator’s wife (Scott Thomas), while attempting to maintain his own social standing in this precariously powerful society, where politicians are out for blood and scandals follow indiscretions and whispering campaigns could ruin reputations.

What Schrader as director and writer of this insightful film does so brilliantly is to create a contrast between the world of Washington’s high society and the more secretive one of the capital’s homosexual community, where relationships are fragile and even under threat. Harrelson is excellent at playing the complex Carter Page, a socialite born and bred of Virginian stock and what is known as a Walker (or companion) of these wealthy ladies, whose husbands are busy with the cut-throat world of American politics, while also trying to maintain a secret relationship with his foreign lover, a news journalist and photographer who’s only dream is to live in a more openly accepted environment like New York’s Soho. With plush interiors of elegant hotels and salons juxtaposed against the harsh bureaucracy of police stations and dim back alley bars, Schrader creates a sense in The Walker that behind the façade of polite society there lurks alternative underworlds of devious deceptions and sinister encounters, especially true in the slippery and dangerous intersecting worlds of politics and sexual encounters.


Besides creating these contrasting settings, the characters in the film ooze wit and sophistication, not to mention an exaggerated opinion of themselves, while also displaying the hypocrisy, greed and ambition which many of the rich and famous for prey to. Schrader also leaves countless clues to the points of reference by which he would like the viewer to see his film, from exquisite art works, to works by Dominick Dunne, the New York social commentator and Truman Capote as well as sharp references to America’s current involvement in Iraq, as the camera picks up on random Television images underlined by the photography that Carter Page’s lover does, photographs of naked men masked and chained up, reminiscent of those tortured Iraqi prisoners held in American foreign custody, which came to the media’s attention recently.

The Walker is an intelligent and witty film, a measured social commentary on the centers of political power, and the people that control a nations destiny, while sacrificing their own. I would recommend it as essential viewing to anyone who appreciates stylish filmmaking and has a sophisticated sense of how intricately woven aspects of politics, sexuality and wealth are to making up a society as powerful and dominant as the USA.


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