Amongst all the star cameos in Lee Daniels’s late-summer hit The Butler, one performance stands out as a particularly curious bit of stunt casting. John Cusack, with nary any make-up, a slight gruff in his voice, carrying that aura of meandering disinterest and slight condescension he’s fine-tuned for nearly a decade struts onto the screen as none other than Richard Milhous Nixon. Cusack’s turn as Nixon is both ingenuously lazy and charmingly surreal – no effort is made to convince the audience that the man onscreen is anybody but John Cusack (in contrast to Liev Schreiber’s Norbit-esque turn as LBJ), yet the continued reference toward Cusack as one of modern history’s most readily recognizable and continually invoked Commanders in Chief has a certain Dadaist charm to it, as if Daniels and Cusack were admitting playfully that this was simply yet another star turn and that Nixon was too large and imposing a historical figure to channel with any serious effort for a film not about Nixon. Nixon himself, of course, probably wouldn’t stand for a film not about Nixon. Nixon is a figure that refuses to leave public consciousness. The central subject of more narrative films than any modern President, Nixon’s endless contradictions, standalone history, and almost inscrutable public appeal has provided a subject of endless fascination for storytellers of all stripes, from John Adams to Robert Altman. Here’s an overview of the 37th President’s cinematic highlights.