Les fous du roi

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.

While I admit that CITIZEN KANE portrays the corruption of power better than any motion picture ever made, let's also be fair, because any Hollywood movie will suffer when compared with it. A more appropriate comparison would be the recent docudrama of Huey Long, KINGFISH. While John Goodman is excellent as Long and the movie worthwhile, it reveals just how good a film ALL THE KING'S MEN is.

Of course, Robert Rossen's picture has a drab look. It should. It suggests the drab appearance of most U.S. states (anyone who has visited Kansas will know why Dorothy and L. Frank Baum wanted to go over the rainbow) and the use of common townsfolk rather than Hollywood extras adds to this look, as do the drab locations (check out something like the Marlon Brando movie THE CHASE, a movie that should have a drab look, but instead looks like a glossy Hollywood backlot). Thank God Columbia, a studio that loved locations because it had no back lot, financed this movie!

I wouldn't call this film realistic, but I've read the pulitzer prize winning novel, and I wouldn't call it realistic either. Every page brims with beautifully poetic language which the movie often incorporates and which Rossen makes sound more like natural conversation than it really is. Compared to the book, the film, I think, reveals its real weaknesses: it does simplify moral issues and also reduces some of the characters to the level of melodrama (Willie Stark, in the novel, resembles more someone like Andy Griffith's character in A FACE IN THE CROWD: a charming good ole boy you want to love, but who will knife you in the back the next minute). Broderick Crawford, with his Bronx accent, hardly suggests either a hayseed or, as he calls himself "a hick," but he has a bullying power that I think is brilliant for the role. Personally, I'm glad neither Spencer Tracy nor John Wayne (both of whom Rossen wanted) got the part.

And I think this movie holds up very well, even in our post-Watergate era of cynical politics: like the novel, it shows how the populist leader can easily be a tyrant. This message is not in CITIZEN KANE: the lofty Kane was never one of the people; he just wanted to be one of the people. Considering how much Hollywood in the era of Harry Truman embraced the populist sentiment with the films of John Ford and Frank Capra, considering that dictators like a Hitler and a Stalin like to present themselves as one of the people and enjoyed popular support, considering how much Americans love politicians who are charming rather than substantial, I'd say Rossen's film hasn't dated at all.

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.

You know what I really appreciated about this political story? The filmmakers went overboard NOT to paint the main character as either a Republican or Democrat, Conservative or Liberal. It winds up, then, being more a human-interest story. In other words, there was no political agenda....unlike most films, especially in the last 50 years.

At any rate, Broderick Crawford does an outstanding job portraying the self- proclaimed "hick" Willie Starks, who rises from nothing to become governor of a state and then gets carried away with power and ego.

Mercedes McCambridge is equally riveting as one of his aides. She was a great actress, one of the most intense females I've ever seen on film. I'm sorry she didn't achieve stardom and make more movies than she did. She certainly had the talent. In fact, she won an Academy Award for this performance.

John Ireland also does very well here as another person helping "Willie." Add some good cinematography and you have a fascinating film start-to-finish. I look forward to viewing it again.

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.