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Viewed this film years ago and always liked the acting style of Broderick Crawford. He had a rough and tough voice along with his face and built, and in this picture he gave an outstanding performance. Crawford played ( Willie Stark),"The Vulture",'67, who set out to become a governor and promised the working people everything that they ever wanted. Willie's big project was a hospital that would meet the needs of everyone that needed help and free of hospital fees. This film also has great character actors who went on to be come big names on the Silver Screen in Hollywood. This picture is one of Crawford's best films and it is truly a great Classic Film of the late 40's.

Every dog has his day. Broderick Crawford (sometimes remembered for the TV series "Highway Patrol") hit the zenith of his career with an Oscar winning performance. As Willie Stark he reeks of the abuse of power we have seen in the year's since. Never again does Crawford turn himself loose in a role that was really written for him. (In Highway Patrol all the chases were shot on private land - Crawford's driving license was revoked for numerous DUI infractions). You can't leave out Mercedes McCambridge. She is the perfect second lead. Her performance is filled with depth. Mercedes is the role model for today's woman. Tough yet filled with compassion. She and Crawford provide sensation entertainment without one frame of CGI. If you haven't seen this film, rent it, buy it or go to a retrospective. Your film going life is incomplete without a viewing.

All the King's Men was a gutsy film in its day, and wonder of wonders it still plays this way after all these years. It's probably, with the exception of Beat the Devil, the most ragged film to ever achieve classic status. Directed by Robert Rossen, adapted from a novel by Robert Penn Warren, and strikingly photographed in cinema verite style by Burnett Guffey, it tells the story of the rise and fall of a Huey Long-like politician who starts out as a good guy, if a bit of a bully, and winds up a very bad guy, and even more of a bully, as he takes political control of his state.

There are dozens of things wrong with the movie. It feels rushed, as if edited down from a much longer film. The editing creates an uncomfortable, jarring effect that makes it difficult at times not only to watch the movie but to follow it. It has some dreadful acting among many of its major players, while several of the smaller roles are quite well cast with interesting faces, which creates a tantalizing effect, as if the good stuff, the interesting inside dope stuff that we really want to know about, is too hot for the movie to handle, so we have to settle for a glance, a gesture, a heavy overcoat, and draw our conclusions accordingly. There's a cheap look to the film, not only in scenes where things are supposed to look shabby, like ramshackle farmhouses, but in the mansions of the rich and the governor's office. Nor is there much specificity in the movie. In the novel the state was clearly Southern, while in the movie it could just as well be California or Illinois. And the frenetic pace of the film seems tied to the staccato delivery of Broderick Crawford in the leading role, as if Crawford himself had produced, directed and written the movie to fit his personal idiosyncrasies like a glove.

As luck would have it, these 'wrong' things make All the King's Men work better than a smoother, fancier, more refined approach could ever have done. Its newsreel intensity makes it feel real. The bad performances by relatively unknown actors likewise gives their characters the effect of being actual people who, after all don't always behave or speak as they ought to. In the unattractive sets we see things that look like life rather than movie life, as rich men's homes are not always pleasing to behold, and state capitals and court houses often have a rundown look. Brod Crawford plays his role as a grade B heavy, with perhaps a scintilla more charm, and his bull-necked King Of Alcatraz style of acting suits his character well; and if one finds Crawford too typically a Hollywood bad guy I recommend the documentary film Point Of Order, in which Sen. Joe McCarthy, with no dramatic training whatsoever, could well be Crawford's soul-mate, or at the very least his brother.

Why do these elements work so well in All the King's Men and not in other movies, where a mess is just a mess? I think the political nature of the film made it controversial from the get-go. It probably was severely edited to take out 'offensive' material (i.e. anything that might appear to reflect badly on an actual person). The quick, driving pace gives the film at times the sensibility of a tabloid, certainly not Rossen's intent, but luckily this let's-rip-the-lid-off-of-everything feeling that the movie just naturally has suggests perhaps an even deeper problem at the core of its story than just one crazy man's ambitions gone wild, and as a result the film is in many places suggestive, and seems profound when what lies behind this impression is perhaps a deliberate vagueness on the part of Rosson & Co., which in turn forces the viewer to try to sort things out for himself, using the movie as a series of signposts, and what results is a more profound experience than the film itself: the film one plays in one's mind.

Recently I saw a pretty uninteresting movie, All the King's Men, starring Sean Penn, Jude Law, Anthony Hopkins, and Kate Winslet. I wasn't that impressed and I was embarrassed to see that it was actually a remake, I didn't realize there was another classic out there that had won best picture. But when I saw the remake, I was kinda scared to see this version due to the fact that maybe I was just not into the story, but it turned out to not only be a good film, but a great one that had no need to be a remake almost 60 years later.

Willie Stark is a crooked lawyer who decides to run for senator, swearing up and down the people that he is just like them and making crazy promises, he gets elected and finds that it's harder than he realized to keep those promises. Things start to fall apart more and more when his son gets into some serious trouble causing bad press, the people are not satisfied with his duties, and his marriage begins to fall apart as well eventually leading up to a horrific ending to his term when he is threatened with impeachment.

All the King's Men, the original, is a great movie that I would recommend for the classic lovers. The remake, trust me, it isn't worth watching, but in some sick way I am grateful for it, because I would have never had the opportunity to see this film. We have terrific performances and a great story that anyone could get into, not to mention the Oscar praise it got was well deserved. Sit back and enjoy the movie, the classics are always worth it.

8/10

Maybe "All the King's Men" is a bit long in the tooth now, but until "The Godfather" and "Patton" it was the best film ever made!

The selection of Broderick Crawford as Willie Stark was gutsy, since Crawford can -at best- have been considered "good". Somehow, though, Crawford did not play Willie Stark - he Was Willie! Much like George C. Scott did not play Patton - he Was Patton.

The "you hicks" speech was great. Not until the "Patton" speech was there anything better on film.

Essentially, the thing making the film great was watching Willie "grow up" in the sense of casting aside his idealism for power. Turning point is the cemetery scene, when one of the attendees seeks divine forgiveness for not having voted for Willie.

The turning moment was not unlike Michael Corelone saying "I'm with you Pop" when the Godfather was in the hospital. Michael did not mean physical proximity, but that he then "bought into" the business.

In both cases, the storyline is a reminder about Power and Corruption.

Like most movies made from books, there were some changes that did detract from the story (no where in the movie do we learn that the Judge is Jack Burden's father - yet that is so important). Yet, correspondingly, no one can accuse the book of word economy. It is a powerful story, but overly descriptive.

Crawford's change of expression - the beginnings of insight - are classic.

Definitely worth seeing.