Films taking shots at shady dealings in the world of finance are many, The Big Short, The Wolf of Wall Street and Oliver Stone’s Wall Street being just the ones that come quickly to mind. Playwright Ayad Akhtar is working territory familiar from these films, and very entertainingly at that. He hews closest to Stone’s 1987 Wall Street – both are loosely based on the exploits of Michael Milken and Ivan Boesky. But where Stone’s film was a moralistic and occasionally sentimental melodrama, Junk is a satirical tragicomedy, as cold, hard and gleaming as steel.
In 1985, Robert Merkin (Steven Pasquale) – a fictional composite of Milken and several other financial sharks – is the guiding force at investment firm Sacker Lowell. He specializes in making financial magic with junk bonds, working with the counter-intuitive theory that “debt is an asset.” Most interestingly, Akhtar has the eloquent Merkin frame his assault on previously standard financial practices as an attempt of an ethnically diverse group of underdogs to beat the entrenched WASP plutocracy at their own game. It’s a fresh take on this familiar story, and rings intriguingly true.
Akhtar up to this point has built his reputation on small domestic dramas that, while touching on the way politics and religion impinge on our daily lives, have focused on the psychological and the personal. Junk is a big jump into the kind of political epics more commonly associated with British drama, from Shakespeare to David Hare, and is a bracing success.
Director Doug Hughes handles that epic breadth with great aplomb, moving the large cast around John Lee Beatty’s glittering set like pieces in a cocaine-fueled chess match. Recommended.
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To learn about Jonathan Warman’s directing work, see jonathanwarman.com.