Donald Trump’s The Art of the Deal: The Movie

The film opens with a young boy stumbling into Trump's office while clutching a copy of The Art of the Deal. A phone call from Merv Griffin sets the stage as Griffin refuses to sell him the Taj Mahal. Trump then proceeds to recount his background and personal history to educate the boy.

Set in 1983, Trump encounters a homeless vagrant and pressures him to terrify the tenants in one of his buildings. The move illustrates his ruthless approach to expanding his real estate empire. The scene uses the mock-lesson framing to show how he wields intimidation as a business tool.

In a 1973 frame, Trump clashes with Mayor Ed Koch and explores ways to dodge civil rights charges by aligning with club owner Igor Cassini. He hires Roy Cohn to lead the legal fight, setting a pattern of aggressive, high-profile tactics. The chapter presents the beginnings of a long, combative legal era.

Roy Cohn is brought in to direct the civil battles, shaping the defense and courtroom strategies. The narrative follows the aggressive maneuvers that define Trump's early legal battles. The chapter foreshadows the later transition to Jerry Schrager after Cohn's death.

The death of Roy Cohn ushers in a shift as Jerry Schrager becomes Trump's new lawyer, changing the tone of the legal maneuvers surrounding his ventures. The narrative emphasizes the turnover in legal strategy amid ongoing battles. The moment marks a transition to new approaches in the courtroom.

Trump performs a rap about litigation with the Fat Boys, heightening the satirical tone of his legal battles. The musical interlude adds a layer of theatricality to the proceedings. It signals a shift in the film's mood toward spectacle and parody.

Trump recounts his feud with Pete Rozelle over ownership of the New Jersey Generals and a high-profile antitrust lawsuit. A judge ultimately rules in Trump's favor, but the damages awarded are a symbolic $1, underscoring the performative nature of the conflict. The episode emphasizes the performative, theatrical side of his battles.

Ivana enters the office, and a personal perspective on the empire is offered through a recounting of time at Trump Castle. The scene broadens the cast of voices and adds a domestic lens to the tale. Her account helps frame the enterprise as a public spectacle as well as a business.

Trump pursues a casino purchase from Barron Hilton, marking a pivotal expansion of his Atlantic City footprint. Hilton's sale signals a turning point in consolidating influence over the gaming landscape. The sequence heightens the sense of a growing, multi-front empire.

The tale moves to 1977, recounting Trump's marriage to Ivana, with ALF serving as best man. Der Scutt presents his design for the Taj Mahal, blending architectural ambition with the film’s whimsical humor. The chapter ties personal life to the ongoing production and publicity machine.

The arc culminates in tense negotiations over air rights and the visual impact of the constructions, drawing protest from Met Museum insiders. Trump consults Walter Hoving of Tiffany & Co. as concerns about scale and cultural costs rise. The sequence frames a clash between spectacle and cultural preservation.

After the boy finishes his lesson, Merv Griffin relents and sells Trump the Taj Mahal, enabling the project’s late-stage ambitions to reach their apex. The sale marks a turning point in Trump’s Atlantic City empire. The moment ties together the film’s satire with tangible forward motion.

A time traveler from 2016 enters, intent on stopping Trump from running for president. The meta-fictional device introduces a time-travel motif that threads through the film's final act. The sequence blurs the line between history and fantasy.

The 2016 Trump appears and eliminates the time traveler, seemingly killing Doc Brown to prevent Back to the Future’s legacy from existing. The moment plays as a surreal reversal of cinematic history. It reinforces the film’s chaotic satire about destiny and fame.

The climactic meta-narrative places Trump at his 40th birthday, with surreal candle moments that cap the film’s wild ride. The scene laces personal milestone with the broader commentary on ambition and spectacle. It leaves the audience with a bizarre, symbolic image of the era.

In a post-credits moment, Ron Howard reflects on the project’s unintended consequences and disposes of the videotape. The director’s aside casts a final wink at the film’s self‑aware critique of Hollywood and publicity. It closes the metafictional loop with a quiet, reflective note.