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Henry Fonda and Cliff Robertson are neck and neck for the Presidential nomination in "The Best Man," a 1964 film based on the play by Gore Vidal, who also wrote the screenplay. The film sports an outstanding cast including Margaret Leighton, Kevin McCarthy, Edie Adams, Lee Tracy, Edie Adams, Ann Sothern, Shelley Berman, Gene Raymond and Howard K. Smith.

Fonda is William Russell, a wealthy man of principle, though he cheats on his wife; Robertson is Joe Cantwell, who chases Communists, is a "man of the people," and plays dirty. At one point, each candidate has something on the other that could lose them the nomination. Nowadays, of course, these items would have come out long, long before the convention. "One word from me and Joe Cantwell is out of politics," Russell muses to his wife (Leighton). But can he say the word? This is a fascinating look at the machinations of getting a President nominated, and asks the question, can a man retain his integrity and still be a politician? Vidal's answer comes as not much of a surprise.

Fonda played presidents and politicians throughout his career. As Russell, he has reserve and dignity. He keeps you guessing. Robertson does a great job as a disloyal sleaze. Lee Tracy, who started in silents, is fantastic as the current, ill President, repeating the role he played on Broadway. The rest of the cast is uniformly good.

So much of what is stated in "The Best Man" remains true today. I doubt these races are handled much differently now. The more things change, the more they remain the same. Especially in politics.

The Best Man in a sense was dated before it ended its Broadway run of 520 performances in the 1960-1961 season. John F. Kennedy with his string of primary victories had the nomination almost decided before the Democrats met in Los Angeles that year to nominate him. After that, money raised and spent wisely in primaries decided nominations in both parties long before the conventions met. The last convention where there was a semblance of a contest was the 1976 Republican convention where it was not certain until the balloting that Gerald R. Ford would be the GOP candidate.

This film takes us back to the era of the smoke filled room although candidate Cliff Robertson pointedly tells former president Lee Tracy that he does not smoke. We've got two candidates at this fictional Democratic convention circa the sixties. One is Henry Fonda former Secretary of State, an intellectual in politics modeled on Adlai E. Stevenson and Cliff Robertson a no nonsense street fighter of a U.S. Senator that Joe McCarthy was the prototype.

By the way back in those days Joe McCarthy could easily have been a Democrat. Note that Robertson has the support of the lily white south in the era before the civil rights revolution. Minor candidate John Henry Faulk, a southern governor, is most concerned about mandated integration of his state's public schools. Back then the Dixie part of this country had a big influence in the Democratic party, the Republicans were almost moribund in many southern states. But they were a growing force.

Neither Fonda or Robertson really understands the motivations of the other. They're both courting the support of Lee Tracy a former Truman like president. In actual fact, Truman counted for very little once he was out of the White House. He anointed no successor in 1952 and in 1956 and 1960 his candidates were W. Averill Harriman and Stuart Symington respectively and both came up very short.

Fonda and Robertson both have dirt of varying degrees on the other. Fonda's dirt is supplied by former army buddy of Robertson's Shelley Berman who says that Robertson was gay. As it turns out Robertson ratted out a bunch of gay men in the service and got smeared in retaliation with the label. That sad to say has not changed even with don't ask don't tell in the Defense Department.

Fonda and Robertson's roles on Broadway were played by Melvyn Douglas and Frank Lovejoy. Lee Tracy who was the only carry over from Broadway, won a Tony Award and was nominated for an Oscar, but lost to Peter Ustinov for Topkapi. Tracy's is a finely etched portrayal of a bitter old man now out of real power and seeing his power to control events slipping by. Made even more bitter by the fact that he reads the characters of Fonda and Robertson very well, but can't influence either.

Gore Vidal aided in the transition of his play to the screen and it survived the journey from Broadway none the worse for wear. It's a fascinating look at a bygone era of politics when the national conventions meant something as opposed to being the media shows they are today.

In which we hope then as now that The Best Man will win out.

What a pleasure to see Lee Tracy in his later years! He plays a President who is terminally ill-- not that Conservative, mudslinging candidate Cliff Robertson cares about his health.

The movie has some weird, faux cinema verite angles. It may not be great art as a movie. But what a screenplay, courtesy of Gore Vidal! Rarely are audiences treated to such literate dialogue and politic insight and wisdom.

Henry Fonda is very good as the upright candidate in a primary. Margaret Leighton, whom I love, is charming as his wife, though it's odd that a senator would have a British-accented wife.

Robertson, not a particular favorite generally, is superb as his rival. His tactics make the flesh crawl.

Kevin McCarthy as Fonda's aid is very good. Edie Adams as a political hostess is a scream -- and she seems just right.

And Tracy. He is both funny and touching. What a splendid actor that man was! In so many early movies, he delivered long, elegant bits of dialogue in what seemed to be a single take. That guy was load with talent. What a shame he self-destructed. But here he was, back again.

This is one of a kind and most definitely worth a visit.

A sharp as nails look at US politics, maybe a bit old fashioned, but in a good way, with great performances and writing, and very well put together. It pits the packaged candidate of "the people", a scary Cliff Robertson against the principled liberal played by Henry Fonda, with Lee Tracy as the dying ex-president whose endorsement both vie for. While he favors Robertson for his decisiveness, he fears his utter lack of principles, but can't support the wavering Fonda. Sex, mental illness, shady characters dredged up by political operatives (in this case a great part by Shelley Berman), the fabulous portrayals of both of the wives (especially a cute and dangerous Edie Adams), the film transcends the characters, and hits home as much today as when it came out in 1964.

I work at a movie theatre and in a time of one-week wonders ( yes, one film with an action star lasted 3 days in our chain !) it is refreshing to see a film again where the acting is good and the story keeps your interest.

I am watching this movie after not seeing it for 30 years. It made an impression on me and I started listening to both Gore Vidal and William F Buckley because of it.

Henry Fonda's character is clearly based on Adlai Stevenson. Cliff Robertson echoes Richard Nixon so much it is scary. His arrogance is such that he gives the former President orders !

People decried the smoke-filled room politics of this era but I wonder if we got better leaders back then. They seemed to make decisions based on the courage of their convictions and not what the latest poll says. Fonda's character comments on his ignoring polls, whereas now, politicians can't seem to brush their teeth without worrying about public opinion and not what is best for the country.

The actors in this movie didn't need special effects and could ACT unlike so many of the baby-faced wanna-bes of today.

This movie reflects sex, immorality, infidelity, integrity. God and judgement day are even mentioned, something that is anathema today. And what's shown in here shows that times change but one could replace current politicians for these actors and see them immediately.

Lee Tracy is great in this movie and it could be easily watched for just his performance.

Of note, is the glad-handing by William Russell at a public pool. No security guards, no secret service people.

And mention of a nervous breakdown by Fonda's character. Remember Thomas Eagleton?

If you haven't seen this movie, see it and Seven Days In May afterward. It will give you an idea of how poliiics was looked upon in a totally different era.

George Senda Concord, Ca.

The movie version of Gore Vidal's play The Best Man is an excellent time capsule of its period, the sixties, when political conventions still mattered, getting one's picture on the cover of Time magazine was the best thing that could happen to a national politician's career, and when hints of mental illness and sexual peccadilloes were still whispered about rather than discussed openly. Franklin Schaffner directs energetically, and the film has an air of urgency to it that make it seem like it's saying something of great importance. It does have something to say, and while I wouldn't call it trivial the movie and its writing is nowhere near as good as it's been cracked up to be. A good deal of one's appreciation of this film will depend on one's opinion of Gore Vidal's literary status. If one rates him as great, the movie a splendid interpretation of his work and his ideas. But if one doesn't, and I don't, then it's a different kettle of fish. First to the movie.

The story revolves around a power struggle that is going on behind the scenes at a national political party's convention (it isn't made clear what the party is, but one can safely assume it's the Democrats). Leading candidate for the presidential nomination William Russell is a former secretary of state, intellectual, writer of books, deep thinker, and liberal conscience. To anyone familiar with the period the character is obviously based on Adlai Stevenson. His chief opponent for the nomination, Joe Cantwell, is a somewhat younger man, a ruthless opportunistic conservative more or less in the Nixon mould. What Nixon or someone like Nixon is doing seeking the Democratic nomination is never made clear, but no matter. That bachelor Cantwell has a skeleton or two in his closet is indicated by rumors of his homosexuality. But Russell has his problems, too, womanizing, an apparent nervous breakdown, and worst of all for a politician, indecisiveness. Both men seek the support of ailing former President Art Hockstader, a pragmatic diamond in the rough politician of the old school, and clearly based on Harry Truman, who, though he leans toward and agrees with liberal Russell, has his doubts about him personally. He'd like to stop Cantwell from getting his party's nomination and isn't sure that Russell is the man to do it. A former officer in Cantwell's unit from the war is willing to squeal on him regarding the homosexual issue. Russell hears the man out, and takes an instant dislike to him. He wants to stop Cantwell, but not that badly. There is a confrontation between Russell and Cantwell. Russell equivocates. Ex-president Hockstader is disgusted with him for not using the "dirt" on Cantwell, and chaos ensues at the convention.

This is a perfectly respectable play and movie, and I have no problem with it except that its insight into people is skin-deep. The actors are not to be blamed. Henry Fonda is appropriately dignified as Russell, Lee Tracy, in his last screen role, is salty as Hockstader, and Cliff Robertson is correctly one-dimensional as the venal Cantwell. The outstanding supporting cast, which includes Ann Sothern, Kevin McCarthy and Gene Raymond, is flawless. What Vidal has to say, which is that politics is an often ugly business, has been said before. He has nothing new to add but the sexual angle, which is mildly interesting. There's little imagination in The Best Man. It's never inspired. The dialogue is adequate, yet never brilliant; and the characters credible without being dynamic. During the course of the film I felt like I was watching a reasonably well-thought out essay. It was never boring, and often skillfully done, and yet I was never drawn into it emotionally, or cared for the people it was about. There's something lacking in Vidal here and in all his work. Maybe it's a contempt for humanity, or maybe just a lack of caring. I find it hard to take anyone seriously who opines as often as Vidal does on a variety of issues, who cares so little for the people those issues ultimately concern.

Competing for their party's presidential nomination, two popular United States politicians consider using underhanded slander tactics to gain an advantage in this scathing look at the American political process. The presidential hopefuls are played by Henry Fonda and Cliff Robertson respectively, however, the best performance in the film comes from Lee Tracy who received an Oscar nomination for his role as the cynical, terminally ill incumbent president who cannot decide whether the unadventurous Fonda or the spineless Robertson is better to endorse. Full of moralistic dialogue, the film feels a little preachy at times and Fonda and Robertson are painted a little too much like polar opposites for credibility, but either way, the film offers a memorable insight into dirty politics and the systems in place that breed dirty politics. There is great irony in how Fonda and Robertson spend more time working out whether or not to take down one another than they do on debating issues and policies at hand. There is also much to consider with Tracy equating Fonda making a decision on whether to take down Robertson at the same level of making a political decision in the best interest of the nation. The film has curious time capsule status too these days, or at least in terms of the tactic proposed in order to take Robertson down. Times have certainly changed, but have politics changed that much?

Gore Vidal was a TV fixture during the Vietnam War era using his wild wit to lay low conservatives such as William F. Buckley Jr. Vidal was also one of the most gifted and talented political playwrights of the period. "The Best Man" is one of his best works. Obviously Henry Fonda as Presidential hopeful William Russell represents the "egghead" Adlai Stevenson. Fonda even physically resembles Stevenson. Cliff Robertson as Presidential hopeful Joe Cantwell is a dead ringer for Richard Milhous Nixon. Ironically Robertson would use Hollywood politics to snatch the Oscar a few years later for "Charly."

There are several outstanding performances in this film. Fonda and Robertson have already been mentioned. Lee Tracy was deservedly nominated for an Oscar for best supporting actor for his performance as former President Art Hockstader who controls the nomination process at the party's national convention until cancer brings him down. This picture represented somewhat of a comeback for Tracy. While filming "Viva Villa!" in Mexico a drunk Tracy urinated from a balcony onto the heads of Mexican soldiers parading below leading to an international incident. It gave a whole new meaning to raining on someone's parade. Tracy, a truly distinguished actor, himself died of cancer a few years after "The Best Man" was released.

A few of the cast members noted for their comic talents give splendid dramatic readings. Shelley Berman plays a confused ex-soldier who accuses Joe Cantwell of having done a degenerate act while serving with him in the Aleutian Islands. Ann Sothern has the role of a busy body who thinks she's a king maker. Sexy Edie Adams (Ernie Kovac's widow) appears as Joe's wife hoping to be the future First Lady. And the great John Henry Faulk who was blacklisted in the 50's because of persons like Joe, fought and won, plays a corn pone Southern politician.

Don't miss the heavenly Mahalia Jackson, perhaps the best gospel singer of the 20th century, belting out an old spiritual at the opening of the convention. Her time on the screen is much too brief. Howard K. Smith doesn't have an acting problem since he plays himself but his appearance makes the convention seem more realistic. The entire cast makes a good showing. However, Kevin McCarthy is virtually wasted in the thankless role of Russell's campaign manager.

Gore Vidal writes with much wit and wisdom. There are subtle hints of humor from time to time that require the viewer's devout concentration. This is definitely not escapist type fare. The film analyzes American politics not just from the standpoint of 1960/64 but from the Republic's 200 plus year history. The revelations presented in "The Best Man" are just as true in the year 2006 and will be rerun to some extent during the Presidential conventions in the summer of 2008.

The ex-President Art Hockstader refers to the results of the convention as putting a king in the castle, a far cry from George Washington's views that being President was a civic duty. When asked if he should be called King, Washington replied, "No, Mr. President will do." We haven't had a Washington in the President's house since.

Two men vie for the presidential nomination of a party. Based on a play by Vidal, this is a fascinating behind-the-scenes look at the political machinations on the campaign trail. Although the name of the party is not identified in the film, the candidates display elements of both Democratic and Republican values. Fonda is the decent, old-school liberal while Robertson is his ruthless, right-leaning rival. Both turn in excellent performances. The standout in the fine supporting cast is Tracy as a former president who must decide which candidate to endorse. This is an ideal companion piece to "Advise and Consent," made a couple of years earlier and also starring Fonda.

I've been looking out Hollywood political thrillers from the early 60's and so came to this one after recently seeing features like "The Manchurian Candidate", "Seven Days In May" and "Advise And Consent", all top movies in my view. I hadn't heard of this one at all for some reason but it compares very well with those mentioned above.

Like them, it's filmed in newsreel-crisp black and white and takes an extremely caustic view of domestic U.S. politics, perhaps even more so than those predecessors I listed. There is no single main character it seems, from the president on down, not prepared to get down and dirty to get into power. Cliff Robertson's young, thrusting, no-holds-barred Senator Joe Cantwell, quite prepared to trawl up and air in public the troubled medical history of his older, more principled rival, William Russell, played by Henry Fonda. But Fonda's own campaign team think they have mud to sling back at Cantwell, an alleged homosexual dalliance of his in the army, no doubt in the same platoon as Don Murray in Preminger's "Advise And Consent" and both they and the ailing incumbent president (like president Fredric March in "Seven Days In May") want him to use this dirt (again like president Franchot Tone in "Advise And Consent") to get high by going low to paraphrase a recent president.

Adapted by Washington-watcher Gore Vidal, of the four films mentioned, this is perhaps the most damning of the American election process. I was again surprised at the airing of all this personal dirty linen before the viewing public of the day as I didn't think such personal characteristics or traits as homosexuality or psychological health issues could be so damaging to a candidate's electability even back in the early 60's, but what do I know.

That said, I didn't appreciate the simpering whimpering characterisation of the stoolie army chum of Cantwell's prepared to expose his alleged gay past plus I was also surprised that at the party convention, the casting votes to nominate a candidate could be transferred as a block without even consulting their own electorate which for me made the admittedly tense conclusion (although again using the same dramatic plot device as "Advise And Consent" as the catalyst for the climax) seem incredible and unlikely in these here democratic United States. Better and more realistic I thought was the backstabbing double-dealing perpetrated by the country's chosen representatives, best exemplified by Robertson's character rhyming off all the sleaze he has on swing-senators to arm-twist their support for him.

Fonda, as in "Advise And Consent" is excellent as the closest thing to a principled character in the movie, as is Robertson as the Nixon / McCarthy hybrid Cantwell (with a little, leavening slice of Bobby Kennedy thrown in for good measure). Lee Tracy, who'd played the part of the knowingly unscrupulous old president on Broadway is excellent in his Oscar-nominated role. Women don't get major parts in the film, but Margaret Leighton and Eddie Adams do well as the non-adoring and adoring wives of the candidates while Anne Sothern steals more than a few scenes as the would-be powerbroking matriarch of the women's vote. Director Franklin Schaffner certainly captures the bustle and tension of a close fought electoral fight.

I personally can't get enough of this type of movie and will seek out others from the same era for further comparison. Even if I didn't find this one quite as thrilling as "Manchurian", as engrossing as "Seven Days" or as provoking as "Advise" it still bears comparison with its illustrious contemporaries.

Like Gore Vidal himself, THE BEST MAN is a strictly superficial look behind the scenes of party politics, with Vidal taking stabs at the less than perfect candidates vying for the office of President of the United States.

He gets digs at everyone in Washington, D.C., exposing the silly wives with daydreams of becoming First Lady (EDIE ADAMS), the women who know how to play double-cross with charm and skill (ANN SOTHERN), and two men who are entirely different in character--HENRY FONDA (supposedly based on Adlai Stevenson) and CLIFF ROBERTSON (an unethical man who stops at nothing to play dirty and may have been based on Richard Nixon). It smacks of 1960s political scene--but since not much has changed since that time as regards political conventions, it's still timely enough to represent a time capsule of that period.

Fonda is Fonda; Cliff Robertson is a one-dimensional bad guy; but there are some juicy performances among the sterling supporting cast, including LEE TRACY as the current President (an outspoken man of homespun values, based presumably on Harry Truman), and MARGARET LEIGHTON, ANN SOTHERN, KEVIN McCARTHY and GENE RAYMOND doing workmanlike jobs in less substantial roles.

If you like your politics full of cynicism and not necessarily full of wit, THE BEST MAN should appeal to you--especially if you like Vidal's current brand of rather nasty commentaries on today's political scene.

Trivia note: LEE TRACY, as the ill president, did succumb to cancer a few years later, after winning an Oscar nomination as Best Supporting Actor for this film.

60's flick about political mudslinging between two candidates who are vying for their party's nomination for president. The action takes place at the convention as both Henry Fonda and Cliff Robertson dig up the dirt about each other. Compared to today's politics this 64 film actually seems tame. Fun to watch especially during a presidential election year.

In a Presidential convention, William Russell (Henry Fonda) and Joe Cantwell (Cliff Robertson) are the leading candidates. Russell is a principled intellectual with personal issues that could haunt him. His estranged wife Alice is supportive publicly. Cantwell is a populist on the outside, and a ruthless opportunist on the inside. His wife is superficial. They struggle for the endorsement of the departing President Art Hockstader. Cantwell threatens to Hockstader that he would release Russell's secret psychiatric hospital records. In his all important speech, Hockstader doesn't give a direct endorsement throwing the convention open. He has concerns about Russell but vows to stop Cantwell.

This is a political movie of the era. The main characters are referencing politicians of the time. It loses a little with the passage of time. Fonda and Robertson are exceptional. Writer Gore Vidal injects the movie with plenty of behind the scenes realism. It is more real than most political thrillers of that era.

The Best Man is from 1964 and it could have been made today. Gore Vidal first wrote it as a play which he later adapted for the screen. Vidal had real life experience as an insider in politics. He was on a first name basis with JFK. Henry Fonda stars as an idealistic politician running for president. Cliff Robertson is his opponent in a primary before the election. The man has no scruples and will do anything to win the election. The wheeling and dealing are shown in a very realistic manner. Vidal's script cuts like a razor sharp scalpel. More then fifty years later and nothing has changed. We need more Gore Vidal's today to cut through all the BS.

Gore Vidal's "The Best Man" is one of my favorite films. Though written at a time when political conventions still mattered, the subject matter is still very appropriate. Basic moral questions are asked and soul searching by the thoughtful viewer takes place. How far would you go to win? Would you knowingly slander a political opponent with false information to gain the upper hand? How much of a candidates past is relevant today?

The cast is brilliant. Henry Fonda, Cliff Robertson, Lee Tracy, Ann Sothern, all are wonderful. Mahalia Jackson makes a cameo singing her heart out at a pre-convention gathering. One of the candidates is rumored to have had psychological problems. Womanizing is another issue. There are homosexual rumors flying around concerning another candidate. Another candidate is a racist.

What is really interesting is Vidal's take on the supposed "two party system". In this movie, there is only one party, as the candidate to be nominated is according to the former President "almost certain to become our next President". This is prophetic on Vidal's part, as the two major party's today have drifted so similarly close to each other on many issues, it is sometimes difficult to distinguish them.

To correct the other reviewer of this film, Cliff Robertson does not play a bachelor candidate. Edie Adams does a great job playing his attractive wife.

"The Best Man" is great film, nearly as relevant today, as it was over 40 years ago. Now, if it was only available on DVD.

Released in 1964 - It was on account of Cliff Robertson (one of my favourite actors of the 1960s) that I decided to watch The Best Man. And, after the show was all over, I was certainly very impressed by both Robertson's powerful performance and by the riveting intensity of this first-rate political drama.

Filmed in b&w, The Best Man's story is set in sunny Los Angeles, during a huge political convention, where the 5 delegates running for the office of U.S President meet (along with their many, many supporters) to see which one of them will be the victorious winner in this race for the most-coveted of all positions.

The two reigning front-runners in this "winner-takes-all" campaign are Joe Cantwell (played by the young and handsome, Cliff Robertson) and William Russell (played by the older and somewhat weary, Henry Fonda).

Soon enough Cantwell and Russell, as the ultimate favourites, square-off for a literal political showdown.

With each of these men vying to gain the all-important endorsement from the present U.S. President, Art Hocksteader, matters inevitably turn to ruthless muck-slinging where the name of the game is, yes, "Dirty Politics".

With its top-notch cast, its superb direction by Franklin Schaffner, and its scathing screenplay penned by Gore Vidal, I'd confidently rate The Best Man (now 50 years old) as one of the best political dramas ever made.

From start to finish, this film holds the viewer's undivided attention with its compelling story-line of a behind-the-scenes look at dirty, American politics.

THE BEST MAN remains pretty potent stuff after all these decades, and having watched it for that long my conclusion is that not much has really changed. True, there are some critics who will comment that was then and this is now, but the underlying truth remains, and will always for that matter, that people don't change. And while we're on the subject of people, the seven deadly sins come into play and, yes, in the world of politics, what better testing ground is there? If you really want to condense this engaging story, all one has to do is watch the stellar performance turned in by Lee Tracy (an Oscar nominee hands down) who portrays the former president of the United States, now at death's door, who lays it all on the table with the dire warning, throw in a touch of arrogance and cynicism, to be careful of what you wish for. Nothing changes. The brass ring will always be there and with it different names, but underneath the same people with the same agenda. What's the old cliché, be careful of the pat on the back because it may set you back. Spot on with THE BEST MAN and some fifty years from now, a new generation of viewers will say about the same thing. Scary stuff, but well worth putting at the top of your viewing list.

Who watching this in October 2020, some things never change.

This movie benefits from three essentials: a taught script, fine acting, and very good direction to keep things moving along. Taken together, they make for one very intriguing movie.

In 1964 when this movie was made, Cliff Robertson's character would have been seen as a riff on the then recently deceased Commie-hunter, Wisconsin Senator Joseph McCarthy, who had died in 1957. Henry Fonda's more idealistic politician might have been seen as any idealistic politician, perhaps in particular FDR or Johnson for the philandering.

Fonda and Robertson give very fine performances in this picture, as does Ann Sothern in a role very different from the sort she played in 1930s musicals. But the most interesting player, for me, was Lee Tracy, who played the fast-talking and slimy reporter/agent in 1930s movies. He is really very good as the highly cynical president here. This was to be his last movie, and it's certainly a great parting shot for him. The casting director who asked for him to play this part was a genius.

The pacing here is great. There isn't a dull moment in the film. I strongly recommend it.

Henry Fonda is the honest aspiring presidential candidate. Clifford Robinson is the social climber. But with the way the characters are written, we're given just about enough realistic nuance to make this more interesting than it would seem classically drawn on paper.

It's a good film in that you may not be a natural fan of this sort of film, and yet, it isn't a boring old political film. Yes it's dialog-based, politically/morally centered, but it's well constructed, and the characters are really well written enough that the film as it progresses keeps captivating its audience.

The whole effort culminates into the final scene. An interesting outcome. Good stuff.

7.5/10.

The funniest thing here is reading the contorted, puzzled attempt to assert that Robertson's character is based on Nixon, but why would "Nixon" be running for the Democratic nomination against "Adlai Stevenson." The reason is that Robertson's character was based on John F. Kennedy (not Nixon) of that close family friend of the Kennedys, Sen. Joe McCarthy.

Now, doesn't it make more sense? Jack Kennedy, in the late 1950s, still parroting the line of his old man (who was a Hitler fan), was the coldest warrior ever to seek the White House.

Of course, getting his brains blown out has martyred & deified him, but he was once a tough-titty anti-commie.

So, if you do a little research, you can find sources that say Joe Cantwell = Jack Kennedy. It's not a perfect match, Just as William Russell is a womanizer where Adlai Stevenson was dogged by degenerate rumors, but JFK was said to be Vidal's inspiration for Cantwell.