In 2006 Peter Morgan’s Frost/Nixon took to the London stage. It starred Michael Sheen as the playboy TV presenter David Frost, and Frank Langella as the shamed US President Richard Nixon. The following year, the production moved to Broadway.

Being quite a talk heavy play, it seemed an unlikely source for a Hollywood film. However, Ron Howard – a director with a real pot pourri of varied films in his cinematic bag, had the right vision to ship the story to the big screen. Casting was obviously not a problem. Let’s face it, if two actors have been ‘practicing’ the role for the last couple of years on stage, you’d expect them to get it right for the film.

Who lives in a house like this?

Everyone by now is aware of the remarkable talent that is Michael Sheen; he has this ability of being able dip himself completely into the waters of a character, seemingly leaving a membrane of the real thing on his acting frame. Thinking about it, he’s the Terminator of the acting world. The Thespianator, if you will. He nails the persona (for that is what it is, by no means an impersonation) of Frost perfectly.

The story is a simple one; David Frost approaches the ex president for an interview, and he accepts. But what appears on screen is the verbal equivalent of a heavyweight title fight in Vegas. Both have their own strategy to knock their opponent off their feet. The first half of the film follows the training, with the second half reserved for the main event.

Now without sounding too unkind, Frank Langella has had a solid acting career. However, he’s never had a role where he has ever really stood out and made it his own. Until now. Not only being too young to remember the Nixon administration and English, means that the notoriety surrounding the man him self doesn’t translate to these shores well. However, Langella manages to make Nixon not only human, but believably charming - not overtly, but with ever so slightly subtle nuances. In other words, Langella acts his tiny little socks off, in what is clearly a defining role for the veteran actor.

The most enjoyable parts of the film are when the two men are sharing the screen together; not just locked in an exchange of words, but also looks and glances.

Ron Howard proves himself yet again to be a talented director, growing from strength to strength with every project. The fact that he’s next slated to direct the big screen outing for the gloriously funny TV show Arrested Development, only increases his growing kudos.

On paper, this film really ought not to work. However, the talent involved elevated it way past what could have easily been a badly produced made-for-tv drama, into gold-trophied waters. If Langella doesn’t scoop one of them up for Best Actor, then there truly isn’t any justice in the world.