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Special Features
-Woodward and Bernstein: Lighting the Fire
-Out of the Shadows: The Man Who Was Deep Throat
-Commentary by Robert Redford
-Vintage Featurette Pressure and the Press: The Making of All the President’s Men
-Vintage Jason Robards Interview Excerpt from Dinah!, Hosted by Dinah Shore
-Alan J. Pakula Thrillers Trailer Gallery
Editorial Reviews
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Customer Reviews
Starring Dustin Hoffman as the chain-smoking and quirky Bernstein, and Robert Redford as the more sophisticated Woodward, there is a chemistry between them which gave them the impetus to push way beyond the limits of what the story required, and as one discovery led to another, build on the accumulated details to go even further. Both the men were good at sizing up people, and the film shows how, in one interview after another, they got each interviewee to reveal those details that could fit into the king-size puzzle that they had taken on. Martin Balsam, cast as the managing editor, wanted to give the job to more senior reporters, but as Jack Warden, the metro editor, pointed out, the two young men had a passion for the story that was very special. Jason Robards, the executive editor, was quick to question all their facts, but generally supported them all the way.
Throughout, there are lots of shots of the massiveness of the tall buildings in contrast to the smallness of the men. And, when it came to the secret informer who they called "Deep Throat", those scenes were cast in shadow. The pacing was excellent and the there was tension throughout, which kept me fascinated even though I knew the eventual outcome. This story became an obsession with the two reporters and it seemed as if nothing would stop them. Occasionally, it got a bit repetitive, but that is the nature of good reporting, which can also be called good detective work.
The film brought back the reality of the 1970s, from the hairstyles to the manual typewriters. I found myself thinking about the cell phones and computers we take for granted today, as I watched them pour through phone directories as well as thousands of library take-out slips as they followed up on every clue. The acting, of course, was excellent as well the screenplay, which focused entirely on the news story, rather than becoming maudlin with the personal lives of the men. I give this film a high recommendation. It's definitely worth seeing.
The film does not make a single misstep. Each low key scene after another, solidly crafted, realistically portrayed, slowly builds a growing sense of dread. Like reporters Bob Woodward and Carl Bernstein, we discover each clue. With great apprehension, we begin to realize this peculiar Watergate burglary is leading to one of the great scandals in American history.
I have seen "All the President's Men" at least 10 times, and each time my respect for this film grows. I am amazed by the camaraderie during the editorial meetings, so realistically portrayed. Equally impressive is how two larger-than-life actors Robert Redford and Dustin Hoffman (as Woodward and Bernstein) disappear into their roles. Rarely noted, these two superstars give what is arguably the finest performances of their storied careers. By film's end, they are no longer Redford and Hoffman but two young reporters, intensely on the trail about to break the story of the century.
One of the great supporting casts of all time is important to the success of this film. Jason Robards, Jack Warden and Martin Balsam as the Washington Post editors who grudgingly guide and support their young reporters, are nothing short of brilliant. And then of course, you have Hal Holbrook, Jane Alexander, Ned Beatty, Robert Walden, Stephen Collins and Lindsay Crouse in crucial, but memorable supporting cameos.
The late director Alan J. Pakula was the perfect choice for this film. An expert in paranoid thrillers ("Klute," "The Parallax View," "Presumed Innocent"), "All the President's Men" must be considered his crowning achievement. Hollywood has a history of changing true stories for dramatic embellishment, and Pakula should be applauded for sticking to the facts (as should William Goldman, who wrote the tight screenplay based on the Woodward/Bernstein novel of the same name) and creating an authentic recreation. It must have been an incredible challenge to make a film with so little action (no explosions, murder or gun fire).
In "All the President's Men," the pounding of the typewriter key is akin to the firing of a cannon. Eventually, as we see Woodward and Bernstein furiously typing away while on the television Richard Nixon is sworn in for his second term as President, we realize just how great a country the United States is. We are all accountable for crimes, even our highest elected leaders. This is a free country, perfectly personified by our free press. "All the President's Men" flawlessly documents this.
The DVD picture and sound was crisp, but any sort of extra would have been nice. Who can figure out Warner Bros? Some of their DVDs are excellent (Contact, L.A. Confidential), but this one is bare-bones. Still, it is priced to own.
