All the King’s Men

All the King's Men

“…I learned somethin’.” “What?” “How to win.”

Aaaaallllright, let’s see if I can get back in this. Despite the rough past few months or so, a small part of me is still hoping that this won’t be particularly difficult to do… so let’s start with another literary adaptation! Cause those have gone so well before! Woooo! Ok, humor aside, at least the book that All the King’s Men is adapted from and shares its title with won a Pulitzer Prize, and the film won Best Picture to boot, so I’m hoping that the standard will be considerably raised enough with this that it won’t be torturous to sit through. Now, I said all that before actually getting to what All the King’s Men deals with in story and topic, that of a charismatic but moderately naive politician who rises in power as he simultaneously sheds his innocence to become just as ruthless and corrupt as those he used to fight against; truly, in today’s day and age, this film will and should likely be particularly timely and prescient, even with it being a good 70 years old. Of course, after the past decade or so, what this film hopes to impart as a worldly moral lesson comes across as rather meek and obvious in comparison, but it’s still a pretty good film regardless.

The film is told from the eyes of Jack Burden, who starts off as a reporter in a big city tasked with doing a piece on a small-town man running for a small-town treasury position named Willie Stark. Stark is said to be an honest man making a run in politics, so of course Burden is intrigued to see if this is the case, and comes back wholeheartedly believing Willie Stark is the real deal. Willie, however, loses his race after running up against the corrupt nature of politics, even at the local level, but he is proven right in the end when the concerns he was running his platform against come to pass, and in a roundabout way, he ends up as a candidate for governor (in reality, in order to split the vote and get another candidate into the office instead). Once Willie realizes the truth, and the real nature of the political machine, he throws up his hands, gets drunk, goes to one of his rallies… and delivers a blistering sermon about the truth of who he is, who his opponents are, and what they think of the people voting for them. Soon enough, he’s in office, and he has quickly learned from his unexpected success how to play the political game, and the once-stalwart advocate for truth and the everyman has become a back-dealing, dirt-smearing megalomaniac… and it’s only a matter of time before someone tries to stop him. For what I’m essentially hoping is my foray back into this odyssey, it seems I’ve opted for yet another of that type of film that blends so well together that it becomes difficult to talk about at any length. This is actually really amusing, since apparently the director and editor were having such a problem cutting this film down to a reasonable length that they gave it to an editing consultant with the instructions to take each scene, roll the footage a hundred feet from the middle in both directions, and chop off the rest, which got the film down to its release length. Such an editing hail-mary would not seem to lead to a film that is well blended together, and indeed I’m refusing to believe that further touch-ups were not done after the 110-minute cut was given back to the director, because the resulting film is cut to such detail that it hardly seems like there is any extraneous footage at all. The rest of the film is pretty standard, but good quality and entertaining; the cinematography is nothing to shout about, and the directing and performances are all solid. Even Broderick Crawford, who I was expecting to be impressed by since he won Best Actor for this, simply played a solid character, and indeed I suspect (without knowing too much of the other nominated performances) that he won for the character and not for his actual performance.

I knew that I’d wanted to come back to this with this film for 1949, even if I didn’t know when I’d actually manage to get back to this. That might’ve been a bit of a double-edged sword, though; while this is pretty good, and probably much more timely for its era than it would seem for us in today’s time, that this won Best Picture may be a poor indicator of the rest of the field, of which I’ve only seen one other previously. Then again, I should really remember that there’s been plenty of hidden gems in the past years of Oscar, and that my assumption that the quality of the overall nominations for this award will hopefully go up, albeit slowly, as the years go by, will likely hold true. Still, despite this paragraph up to this point, don’t take this as a non-recommendation for All the King’s Men; this is still a very solid picture all around, and really the only reason one might be let down by it is going into it with the expectation of being wowed by a Best Picture winner, and merely getting a pretty good film instead. This is probably what happened to me, so hopefully this review, if anything, will at least clear the tint off your glasses should you decide to try this one as well.

Arbitrary Rating: 8/10

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