A Review of All the King's Men

Overwrought, sanctimonious and totally unnecessary, Steve Zaillian's remake of the 1949 film of the same name certainly is not without its faults. However, the film has been made, like an accident that everyone has to live with, it is now time to discuss the failed project and analyze why it didn't work.

Zaillian, for one, is the kind of filmmaker who would have been considered a master filmmaker, 65 years ago. His films: "A Civil Action" and "Searching for Bobby Fischer," are perfect examples of his kind of blatant, heavy handed form of entertainment. Let's face it, for the most part, his films - or at the very least, the films he was involved in, are incredibly entertaining and, at times can be very effective and evoke powerful emotional responses. His screenwriting work on films like, "Clear and Present Danger," "Gangs of New York," "Hannibal" and most famously, "Schindler's List," if nothing prove that he has the chops required to deliver powerful, and resonate screenplays. Unfortunately, this time out, his prowess, seems to have failed him a little and he, as well as, his audience is left with a disappointing rehash of a politically intriguing film, which was released in a year when, the American movie-going public had, most likely had enough politics.

Zaillian had the presence of mind to fill his film with, some of the most engaging on screen presences Hollywood has to offer these days. Sean Penn, Jude Law, Patricia Clarkson, Kate Winslet, Mark Ruffalo, James Gandolfini and, of course, the incredibly enigmatic Sir Anthony Hopkins. Also, to Zaillian's credit, he wisely gives his actors and the characters they play some of the most engaging dialogue to come out of a film of this kind in a long time. Unfortunately, he fails to really give them anything but words. Their actions all seem to be trite, and blown out, which in turn makes what could have been a really deep and throurough screenplay, seem pointless and verbose to an extreme fault. This is the kind of movie that elicits groans from people because it is depicting things the audience is all too aware of and, quite frankly, pretty sick and tired of dealing with. We all know that politicians are a corrupt lot and are usually found in the pockets of gigantic conglomerations. Things like big oil and electric having more say in the laws and expenditures of our government than the people who vote and pay taxes is such an old and now paper thin discussion that "All the King's Men," is far more paltry than it would ever attempt to let you, the viewer, believe.

Penn here, doing what Penn, now, does best; delivers a vocally impressive performance, which in this case is an homage to Huey Long, but doesn't seem to venture too far from the characterizations that have, in recent memory, won him awards. He is loud, and depicts his character as he should be, a great orator, but for all his audile skill, he never seems to cross that line into total distaste. It is as if Zaillian, Penn and the rest of his cast seem unwilling to paint him in a negative light. As though this politically charged character too closely represents the ideals they all collectively share and are incapable of showing them in a bad light. Had the film delved deeper, provided more malice on behalf of everyone, then it wouldn't appear to have been influenced by politics itself and therefore might have actually ventured into the territory it implied it would.

Sadly, due to all of these factors, it is evident that all the other actors have sadly little to do. Clarkson, Winslet, Ruffalo and Hopkins all exist only to tie up the end of the film quickly, when it is apparent its 128 min. runtime has gone on a little too long.

The single bright spot of the films really is Jude Law, his performance is nearly that of the weary everyman, who despite his connection with everyone involved in every level of politics, seems to be taken aback at the underhanded dealings, back-stabbings and double-crossings that have engaged around him. Law's ability to deliver awe and disappointment, constantly, without tugging on his chin, relying on tears or volume is a testament to both his presence and acting ability.

Also, it must be said that despite the film's sanctimonious down talking to the audience, it is beautifully shot and Zaillian's harsh tones and steely blues set the tone for what will really be, in more ways than one, a rough ride for the audience.

Sony Pictures, a studio who will either put out an amazing DVD for an undeserving film - or totally abandon one that maybe could use some coddling, like this one, for example, has unfortunately done the latter. While the 1.85:1 aspect ratio encapsulates and shows really all the decent parts of the film, the special features are notably devoid of any explanations by Zaillian himself. The aspects that involve Penn are noteworthy, but really, it all seems contractual. There is nothing genuine in any aspect of this film or the DVD for that matter.