You know that feeling when you're watching an old favorite and a face pops up that makes you do a double-take? That happened to me last night. I was revisiting Mike Nichols' 2007 political dramedy, and there she was. Emily Blunt in Charlie Wilson's War. It’s one of those "before they were huge" moments that feels like finding a twenty-dollar bill in an old coat pocket.
Honestly, it’s easy to forget she’s even in the movie. She isn't the star. Julia Roberts holds the "leading lady" title here as the fierce Joanne Herring, and Amy Adams plays the ever-capable Bonnie Bach. Blunt’s role is—blink and you'll miss it—tiny. We’re talking maybe two scenes and a few minutes of total screen time. But man, she makes those minutes count.
Who exactly did Emily Blunt play?
In the whirlwind of Aaron Sorkin’s fast-talking script, Blunt plays Jane Liddle.
If the name doesn't ring a bell, don't feel bad. Jane is the daughter of Larry Liddle (played by Peter Gerety), a constituent who visits Congressman Charlie Wilson’s office. Her character serves a very specific, very "Sorkin-esque" purpose. She’s there to highlight Charlie’s legendary (and often problematic) reputation as a womanizer while simultaneously being the one person in the room who isn't intimidated by him.
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Their first meeting is hilarious. She's dressed like a "proper" daughter, standing in Charlie's office while her dad rambles on. She’s quiet, observant, and clearly judging the chaos of Wilson's "Angels" (his all-female staff). Then, the movie flips the script. We see her later at Charlie’s apartment, and the "good girl" persona is gone. She’s bold, she’s seductive, and she basically out-charms the biggest charmer in DC.
Why the role was a weird pivot for her
Back in 2007, Blunt was just coming off the massive success of The Devil Wears Prada (2006). She was the "it" girl. Most actors in her position would have held out for a lead role. So, why take a cameo?
- The Mike Nichols Factor: When a legendary director like Mike Nichols calls, you say yes. Even if it's to play a character who doesn't have a last name in half the script drafts.
- The Sorkin Dialogue: Actors live for Aaron Sorkin’s writing. The rhythm of the words in Charlie Wilson's War is like jazz.
- The Ensemble: Standing in a room with Tom Hanks and Philip Seymour Hoffman is a masterclass. You don't turn that down.
The "Seductress" Trope vs. Reality
There's a lot of talk online about how this role hasn't aged perfectly. Some people look back at Charlie Wilson's War Emily Blunt scenes and find them a bit "male gaze-y." I get that. She’s essentially there to be a conquest for Charlie.
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But if you look closer, Blunt plays Jane with a weird amount of agency. She isn't some wide-eyed intern being tricked. She knows exactly who Charlie is. In fact, she seems to be playing him just as much as he’s playing her. It’s a testament to her acting that she didn't just feel like a prop. Even with minimal lines, she gave Jane Liddle a pulse.
A quick look at the "Jane Liddle" scenes:
- The Office Meeting: The contrast between her conservative outfit and her knowing glances.
- The Apartment Scene: The shift in power dynamics. Charlie thinks he’s in control, but he’s clearly distracted by her.
- The "Morning After" Vibe: It’s short, punchy, and moves the plot toward Charlie’s next big scandal.
Is it worth a rewatch just for her?
Kinda. If you’re a die-hard Emily Blunt fan, it’s a fun piece of history. But if you're looking for Sicario or A Quiet Place levels of involvement, you’re going to be disappointed.
The real reason to watch—or rewatch—the film is the chemistry between the "Big Three": Hanks, Roberts, and Hoffman. Philip Seymour Hoffman, in particular, is a force of nature as Gust Avrakotos. His "broken window" monologue is arguably one of the best scenes in cinema history.
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What most people get wrong about her casting
There’s a common misconception that Blunt was "cast to be pretty" and nothing else. That’s a bit reductive. In the book by George Crile, the real Charlie Wilson was surrounded by incredibly bright, capable women who often used their social standing to navigate the "Old Boys Club" of Washington.
Blunt’s Jane Liddle represents that specific type of DC socialite—someone who is underestimated because of her looks but is actually the smartest person in the room. It’s a theme Sorkin loves: the "smartest person in the room" who happens to be wearing 4-inch heels.
Actionable insights for film buffs
If you're diving back into the filmography of the 2000s, here’s how to actually appreciate these small roles:
- Look for the "Power Shift": Notice how Blunt uses her eyes in the background of the office scene. She’s tracking the conversation better than her father is.
- Check the Credits: Look at how many future stars are hidden in 2000s political dramas. You’ll see it everywhere once you start looking.
- Contrast the Characters: Compare Jane Liddle to Blunt's role in The Young Victoria (released just two years later). The range is insane. One is a playful DC socialite; the other is the Queen of England.
Next steps for your weekend watchlist: If you want to see the full evolution of Emily Blunt, don't stop at Charlie Wilson's War. Queue up Sunshine Cleaning (2008) right after. It was filmed around the same time but shows her in a gritty, co-leading role that proves she was always destined for the A-list. Also, pay close attention to the dialogue in the office scene—Sorkin hides several "Easter eggs" about the actual legislation Charlie was passing while distracted by Jane. It’s a masterclass in narrative multitasking.