All the President’s Men

All the President’s Men (1976)
★★★★ / ★★★★

Five lawyers, who worked for Richard Nixon, were caught breaking and entering in an apartment complex to plant materials that would ultimately discredit their Democratic rivals. Two Washington Post journalists, Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman), were assigned to the case but they didn’t expect the trail to the truth to be so deeply embedded in conspiracy. Directed by Alan J. Pakula, “All the President’s Men” was engrossing in every way. Like all great films I admire, the magic was in the small details. First, its realism was highlighted due to its lack of score. The clacking of busy typewriters and electric dialogue were the only music available to our ears. “Source” was perhaps the most common and critical word thrown around but it was the most elusive capture. At some point we wonder, to our exasperation, how many sources Ben Bradlee, the newspaper’s executive editor, needed to run the story that would potentially open Pandora’s Box. Second, the partnership between Redford and Hoffman’s characters were constantly on the forefront. Many potential sources led to dead ends but the duo had unwavering passion and integrity for their work. We may not know who they were outside of their jobs but we didn’t need to because their careers consumed their lives. Woodward and Berstein started off as strangers who happened to work on the same floor. The awkward tension was underlined in the way the camera captured their interactions. During their first few conversations, I couldn’t help but notice that there was always something between them such as a desk or a cubicle divider, particularly when they disagreed on how to approach the research necessary for their article. When one spoke, one character was in one frame. Throughout the picture, such techniques were less numerous because they learned to work together efficiently. The physical distance between the two men decreased, their conversation took place in one frame, and, in the final few shots, they shared the same work space. Lastly, I found Hal Holbrook’s performance as Deep Throat, Woodward’s main source who had strong ties with the most powerful men in the nation, to be quite astonishing. It’s a rarity that I’m impressed by a man covered in shadow for the entire time he’s on screen. Audiences who are not particularly interested in history shouldn’t feel that they would be confused because they are not familiar with the Watergate scandal. “All the President’s Men” worked as a smart and suspenseful political thriller. Despite its subject matter, it should be admired for its bold decisions. My favorite scene was a five-to-ten-minute sequence of laser-like focus involving Woodward trying to track down a man named Kenneth Dahlberg using a telephone. It looked simple but that was its brilliance. A less skilled direction could have made the investigation dry and utterly uninvolving.

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