Where to even start preparing for a Rob Reiner interview? You could rewatch his classic films, of course, namely that phenomenal eight-year streak that started with This Is Spinal Tap in 1984 and blazed through The Sure Thing, Stand By Me, The Princess Bride, When Harry Met Sally, Misery and A Few Good Men. But even that is barely scratching the surface of a career that first got going in the late 1960s. What about his years as a household name in 70s sitcoms, or his famous comic actor father, Carl, or his unique childhood, in which Mel Brooks and other entertainment luminaries would be frequent guests in the house? And what about the political activism that saw him play important roles in overturning the same-sex marriage ban in California and funnelling higher taxes on cigarettes into programmes for young children and prenatal care?
And, of course, what about the stuff he’s still making, because at 76 Reiner is showing no signs of slowing down. There’s a Spinal Tap sequel in the works, not to mention the reason he’s speaking to me today: a documentary about the rise of Christian nationalism in America. God and Country is chilling but vital viewing, dissecting a movement that has infiltrated American politics and the Republican party to such a degree that Reiner believes it could soon bring about the end of democracy in the US – and potentially the world. Does he really mean that?
“Yes,” he says without a pause when we connect over a video link from New Orleans. “The question at this election is: do we want to continue 249 years of self-rule and American democracy? Or do we want to turn it over to somebody like Donald Trump who has said that he wants to destroy the constitution, go after his political enemies and turn America into an autocracy? We see autocracy making its move around the world. And so if we crumble, there’s a danger that democracy crumbles around the world.”
God and Country covers how the Christian nationalist movement began to gain traction in the 1970s when it latched on to abortion as a focal issue. Back then, evangelicals were not especially partisan about the supreme court’s landmark 1973 Roe v Wade ruling, still largely believing in the separation of church and state enshrined within the US constitution. But through huge funding and smart organisation, abortion was successfully turned into a key religious issue, and the idea began to take shape that democracy itself was an obstacle to God’s plans. In the documentary we see the effects of this: churches turned into partisan political cells, preachers inciting hatred against Democrats, and even tales of pastors carrying guns to their sermons. This brewing violence reached its zenith on 6 January 2021, when supporters of Donald Trump stormed the Capitol building in Washington DC.
“And the foundation for it all was Christian nationalism,” says Reiner, “because finally they had found somebody like Donald Trump who they could funnel their ideas through.”
The irony of all this, of course, is that Trump is the least Christian guy you could ever expect to meet. “I think he can probably spell the word ‘bible’,” agrees Reiner. “I don’t think he’s ever read it and I don’t think he has any idea what’s in it. But they excuse all that by saying God works in mysterious ways, and that he sent us this flawed vessel by which we can achieve the goals that we want to achieve.”
Reiner was a keen Biden supporter in 2020, and despite the criticism around the incumbent president’s age – he will be weeks away from turning 82 when November swings around – this support hasn’t wavered.
“Look, he’s old!” says Reiner, who despite his palpable anger still delivers his rants with comedic zeal, as if the world has gone mad and he’s the last sane person standing. “But you have one guy who stumbles around, whatever. And another guy who’s a criminal, basically lies every minute of his life, has been indicted 91 times!”
Reiner’s hatred of Trump was shared by his father, who had a burning desire to live long enough to see him defeated in 2020. As it happened, Carl died a few months before the election, aged 98. “The man he wanted ended up winning,” says Reiner. “What I don’t think he would have ever believed is that Trump would come back again. It’s like a zombie or a cockroach.”
Liberal politics was always at the forefront of the Reiner household. In the 1950s, the FBI came to their house to ask Carl if he knew any members of the Communist party. “He said: ‘I probably do, but if I did I wouldn’t tell you.’” Meanwhile, his mum, the actor and singer Estelle Reiner (who died in 2008), was an organiser of Another Mother for Peace, a group opposed to the Vietnam war. “You know how people talk about remembering where they were when Kennedy died? Well, I remember where I was when [civil rights activist] Medgar Evers died [in June 1963], because my parents were very active in the civil rights movement.”
Their influence on him is clear: Reiner went on to make 1996’s Ghosts of Mississippi, a movie about the trial of Evers’s killer. Of course, these days, with his gilded roots, Reiner would have faced accusations of being a “nepo baby”, which seems a funny thing to level at a 76-year-old man, but he takes it well.
“If you’re a nepo baby, doors will open,” he says. “But you have to deliver. If you don’t deliver, the door will close just as fast as it opened.”
Reiner says his kids are dealing with it now. “My son is 32 and my daughter’s 26. They both want careers, they’re both talented. Should I lean into it? Should I back away from it? They’re confused. I said, once they find their own path, it won’t matter. I was very conscious when I was carrying out my career that I didn’t rely on [my dad]. I didn’t ask him for money, and if you know in your heart that what you’re doing is true, you can block out all that stuff.”
Reiner often speaks warmly about his relationship with his dad, but although it was always loving, it wasn’t always easy. I remark on how central characters in Reiner’s films often wrestle with such relationships – Tom Cruise’s Lt Daniel Kaffee in A Few Good Men was tormented by the powerful reputation of his father; Stand By Me’s Gordie felt ignored and misunderstood by his. He nods. “I loved my father and he loved me,” he says, “but as a kid growing up, I don’t think he understood me. I was odd to him and I don’t think he quite got me. And so that comes out in those films, particularly in Stand By Me.”
When Reiner was eight, the late family friend and legendary sitcom writer Norman Lear told Carl how funny his son was, to which Carl apparently replied: “That kid? I don’t know. He’s a sullen child.” Another actor, Martin Landau, told Rob that Carl had once confided in him: “Robbie wants to be an actor, and I just don’t know if he can do it.” Carl must have meant what he said because when Rob went for the lead role in his father’s semi-autobiographical 1967 film Enter Laughing, Carl cast someone else. “He turned me down. I was 19 at that time, it was a tough road.”
It was only after seeing a 19-year-old Rob direct Jean-Paul Sartre’s existentialist play No Exit that Carl realised his son was on the right path. “The next day he told me in the back yard, ‘I’m not worried about you.’ So clearly, before that, he was worried!”
Just like his father, it seems unlikely Reiner will stop working anytime soon. The reason he’s in New Orleans today is because he’s about to start filming the Spinal Tap sequel. Forty years on from volumes that go up to 11, none-more-black albums and that minuscule Stonehenge, the new movie intends to capture the band as they reform to play a farewell concert at New Orleans’ Lakefront Arena – that is, if they can get over the fact that they are no longer on speaking terms.
Reiner was an unknown entity as a director when the original came out – audiences didn’t always spot the satire at first and wondered why he’d made a full-length movie about a terrible band with no fans – but this time will be different, with Paul McCartney, Elton John and Garth Brooks among the knowing guest stars signed up to appear. Following up a cult classic is a risky business and Reiner admits that everyone is feeling the pressure.
“It’s nerve-racking,” he says. “People would always come up to us and say, come on, you should do another one. We never wanted to do it, but we came up with an idea we think works. Hopefully, it’ll be funny. Because, boy, is it a high bar.”
As with the original, the dialogue will all be improvised – but surely he’s not going to throw Sir Paul into the lion’s den of improv?
“Yes I am!” he beams. “I told him, just don’t worry about it, you just talk and, whatever happens, we go on for ever. I’m not going to use the whole thing, just whatever the thing is that works.”
Tap’s influence is all over pop culture these days. Reiner recalls a fundraising party in which Elon Musk drove in with his first electric car, invited him to sit inside and turned the radio’s volume switch up to its maximum level – which was 11. “That was a good thing he did,” smiles Reiner. “He’s done some other things I’m not so thrilled about.”
Despite the many years he’s spent working on other projects, Reiner has no problem sharing anecdotes about the films he made decades ago. Like how the unbearable tension of Misery was even worse on the actual set. “You have Jimmy Caan, who is a very physical guy – a baseball player, he rode in the rodeo – and he had to be in bed all the time! And there was Kathy Bates playing Annie Wilkes, a stage-trained actor who wanted more and more rehearsals, while Jimmy wanted to do no rehearsals! When we filmed the scene where he unlocks the door with the hairpin and moves with his wheelchair into the hallway … well, even though we had moved just a few feet, it was like kids being let out on recess.”
He’s delighted by how many people love his movies, but he says he doesn’t take the praise or criticism too seriously. At a cocktail party once, the former supreme court justice Anthony Kennedy once came up to him and said: “All courtroom dramas are terrible, awful … apart from A Few Good Men … and [1992 Joe Pesci comedy] My Cousin Vinny!’” He laughs at this. “He says that then lumps it in with My Cousin Vinny, so it doesn’t matter what other people think!”
Reiner can’t pinpoint any reason why his films have stood the test of time. But he especially loves the reactions he gets to The Princess Bride, his revisionist fairytale from 1987. “People come up and say: ‘I saw it when I was six, and now I show it to my kid.’ That makes me feel good.”
Like Spinal Tap, that film was another slow burner, but Reiner is hoping that God and Country will make a more immediate impact. “We need to reach as many people as we can before the election,” he says. But even if he can, does he really think evangelicals are likely to engage with it?
“It’s not for the hardcore,” Reiner accepts. “But we’re hoping to reach other Christians who might have been drawn into this unwittingly. That’s why we talk to some very conservative Christian thinkers in the documentary [such as the preacher and theologian Russell D Moore], very devout people, who are asking: are these really the teachings of Jesus? A lot of them see Christian nationalism as a threat to Christianity.”
All Reiner wants is for those watching to think of the none-more-Christian phrase – Do unto others as you would have them do unto you – and ask themselves if they’re truly living up to it? “Because, as my father used to say: follow that, and you don’t even need the Ten Commandments. That covers everything.”
