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★ 7 / 10
There's something of the "Animal Farm" to this
CinemaSerf
There's something of the "Animal Farm" to this powerful critique of the democratic process. Sick fed up with vested interests and corruption, "Stark"…
There's something of the "Animal Farm" to this powerful critique of the democratic process. Sick fed up with vested interests and corruption, "Stark" (Broderick Crawford) decides to fight the good fight against the establishment. Allied with only the steadfast "Sadie" (Mercedes McCambridge) and with half of the interest of journalist "Burden" (John Ireland) he sweeps the rural constituencies but the urban ones keep the powers that be in situ. Skip on four years and we revisit the campaign - but this time, "Stark" is playing a far more shrewd game. Still dependent on the quick-thinking "Sadie" and being followed by the now even more cynical "Burden", he seems to be able to fight on far more even terms. Clearly, he has used the intervening years to ensure that he can splash the cash and get himself elected. Once in the governor's mansion, though, his determination to improve the lot of his voters starts to see his lines of good versus evil begin to blur. Are his methods becoming exactly the same as his predecessors? Things begin to come to an head with his reputable Attorney General "Stanton" (Raymond Greenleaf) quits and the boss asks "Burden" to go a-digging throught the files to find a smoking gun. He's been an admirer of this jurist for years and so reluctantly agrees - but even if he does find something, will he share it with an increasingly megalomaniac "Stark" whose brusque treatment of his all-American lad "Tom" (John Derek) is beginning to have him question his loyalty to the machine he has been so instrumental in supporting over the years? The one thing I didn't especially like was the ending. It's a sort of cop-out that avoided the politician having to actually deal with the repercussions of his actions, but that very disappointment is an huge testament to a performance from Crawford who is on really sold form throughout. Add to his efforts the equally impressive and almost as ruthless one from McCambridge who treads on eggshells with some considerable skill and, I think, the best effort from Ireland that I've ever seen and we have an exercise in cinematic poaching-cum-gamekeeping, this is up there with the best.
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★ 9 / 10
Honesty, integrity, corruption and murder! Willie Stark is
John Chard
Honesty, integrity, corruption and murder! Willie Stark is an upstanding pillar of the community, when he is coaxed into standing in the local election he gets…
Honesty, integrity, corruption and murder!
Willie Stark is an upstanding pillar of the community, when he is coaxed into standing in the local election he gets a thirst for politics. As he progresses through the political ranks he loses sight of the very things that he first stood for, with him, and all those associated with him getting muddier by the day.
Adapted by Robert Rossen (director and screenplay) from the Pulitzer Prize winning novel by Robert Penn Warren, All The King's Men is the story about the rise and fall of a rotten politician. Almost certainly based on Louisiana Governor, Huey Pierce Long, it's a towering piece of work that is as politically cynical as it is ego centrically human. Not merely just another film about "when good guys go bad", this picture serves notice to the many things that drives politics on, for better or worse. The role of the press is under scrutiny for example, and just how come simple things such as rallies can be staged by some conniving aide sitting at the back? All roads in this gritty piece are paved with suspicious looking stones, the very foundations of which have been murkily formed.
It's a testament to Rossen and his excellent cast that All The King's Men is still as potent today as it obviously was back at the tail end of the 40s. Every once in a while a similarly themed film will come our way, but few, if any, can boast the hard hitting realism that seams throughout Rossen's film. Helped by location shooting at run down Stockton in California, and boosted by a powerhouse performance from Broderick Crawford as Stark, this film most definitely is a hallmark in the political genre. Nominated for seven Academy Awards, it won three in the main categories, Best Actor (Crawford), Best Picture (rightly) and Best Supporting Actress (Mercedes McCambridge with an incredible debut performance). 9/10
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★ 8 / 10
Politicians corrupt? You're kidding!
rmax304823
There are lots of movies about the rise of some obscure person into the celebrity life, and the person turns out to be an ambitious and unscrupulous phony.…
There are lots of movies about the rise of some obscure person into the celebrity life, and the person turns out to be an ambitious and unscrupulous phony. Some of them are pretty good -- "Citizen Kane," "All About Eve." Some are mediocre -- "Keeper of the Flame." This is one of the best.The acting honors generally go to Broderick Crawford and he's not bad. He's rather like a switch who can toggle either into thoughtful candor or blustering Hickhood. (He used the latter persona to good effect as a New Jersey junk man later.) He also had a third position, the incredibly dumb goof, which he never used after becoming a serious actor, but see, "Larceny, Incorporated" for an example of what I mean.If there's a problem with the script it's not his fault, although it involves his character. Hung over, still a bit drunk, Crawford steps on stage and instead of his usual boring "tax" speech he gives a redneck-rousing go-getter. And he never changes after that. Rather too quick a transition.The direction is very good. There's a scene in which Mercedes McCambridge enters the hotel room in which John Ireland has been cooped up for four days in a depressed state. "Whew, lots of smoke," she says. "And lots of whiskey." The scene is almost perfectly staged, with Ireland crumpled on the bed in the foreground and reaching for his liquor out of the frame, while McCambridge busies herself emptying ash trays in the background and staring at her face in the mirror. "Smallpox," she says. (She's not nearly as attractive as Crawford's new girl friend, JoAnne Dru, nee Joanne Letitia LaCock, a name that could have come straight out of Andy Warhol's Factory.) Everyone's acting is quite up to par. It's John Ireland's best role. He was never Hollwyood-handsome with those squished up eyes, that deep hole between them, and that protruding nose beneath.But the honors really should go to Mercedes McCambridge. Robert Rossen, the director, allows her a few seconds here and there to be unique. When Ireland slaps her face hard, she doesn't cry. She replies with a mixture of contempt and not entirely displeased surprise at having provoked him to violence. And that little speech about smallpox as she compares her face in the mirror to the glamorized portrait of Joanne Dru.I won't go on, I don't think. If you haven't seen this, you really ought to. So should everyone inside the Beltway. Power corrupts, and absolute power corrupts absolutely. That's been attributed so often to Lord Acton that I'm beginning to believe he said it.
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