list http://www.spout.com/ Recent community activity around All the President's Men on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/All_the_President_s_Men/934/default.aspx Title: All the President's Men
Year: 1976
Director: Alan J. Pakula
Plot: Conspiracy film specialist Alan J. Pakula turned journalists Bob Woodward and Carl Bernstein's best-selling account of their Watergate investigation into one of the hit films of Bicentennial year 1976. While researching a story about a botched 1972 burglary of Democratic Party headquarters at the Watergate apartment complex, green Washington Post reporters/rivals Woodward (Robert Redford, who also exec produced) and Bernstein (Dustin Hoffman) stumble on a possible connection between the burglars and a White House staffer. With the circumspect approval of executive editor Ben Bradlee (Jason Robards), the pair digs deeper. Aided by a guilt-ridden turncoat bookkeeper (Jane Alexander) and the vital if cryptic guidance of Woodward's mystery source, Deep Throat (Hal Holbrook), Woodward and Bernstein "follow the money" all the way to the top of the Nixon administration. Despite Deep Throat's warnings that their lives are in danger, and the reluctance of older Post editors, Woodward and Bernstein are determined to get out the story of the crime and its presidential cover-up. Once Bradlee is convinced, the final teletype impassively taps out the historically explosive results. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 60
Number of Lists: 48
Number of blog posts: 7
Number of discussion threads: 3
SpoutRating: 4
]]>Tue, 12 May 2009 02:52:52 GMTAll the President's Men1976Alan J. PakulaConspiracy film specialist Alan J. Pakula turned journalists <a href="/players/P____77461/default.aspx" style='text-decoration:underline'>Bob Woodward</a> and Carl Bernstein's best-selling account of their Watergate investigation into one of the hit films of Bicentennial year 1976. While researching a story about a botched 1972 burglary of Democratic Party headquarters at the Watergate apartment complex, green Washington Post reporters/rivals Woodward (<a href="/players/P___107758/default.aspx" style='text-decoration:underline'>Robert Redford</a>, who also exec produced) and Bernstein (<a href="/players/P____94585/default.aspx" style='text-decoration:underline'>Dustin Hoffman</a>) stumble on a possible connection between the burglars and a White House staffer. With the circumspect approval of executive editor Ben Bradlee (Jason Robards), the pair digs deeper. Aided by a guilt-ridden turncoat bookkeeper (<a href="/players/P______831/default.aspx" style='text-decoration:underline'>Jane Alexander</a>) and the vital if cryptic guidance of Woodward's mystery source, Deep Throat (<a href="/players/P____32790/default.aspx" style='text-decoration:underline'>Hal Holbrook</a>), Woodward and Bernstein "follow the money" all the way to the top of the Nixon administration. Despite Deep Throat's warnings that their lives are in danger, and the reluctance of older Post editors, Woodward and Bernstein are determined to get out the story of the crime and its presidential cover-up. Once Bradlee is convinced, the final teletype impassively taps out the historically explosive results. ~ Lucia Bozzola, All Movie Guide60Tag Target (>10)48734http://www.spout.com/ProductImages/t72544m0vj2.jpghttp://www.spout.com/films/All_the_President_s_Men/934/default.aspxFilm http://www.spout.com/blogs/risselada/archive/2009/1/21/39760.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 1/21/2009 4:35:12 PM
Body: All the President's Men I have seen this one a couple times now, and it's one of my favorites. One of the best movies about good journalism (there are a lot of good ones about bad journalism too) and one of my favorite movies based on a true story. And the acting and dialogue are all so very realistic that you almost really believe that if you would have been able to experience the actual events it couldn't be much more thrilling. I'm not blogging about this movie right now just to go along with the recent presidential hype of yesterday's inauguration of Barack Obama. I actually saw this one a couple months ago when my girlfriend rented it on Netflix, and it's just next on my list of movies to mention. But it's easy to imagine that must worse things went on behind the Bush administration than what happened here with Nixon. And lets just hope that Obama's presentation of being and open and honest administration is for real. After watching All the President's Men, it's hard to know who to trust in the world of the media and politics. Oh and if you like this movie and the goofier aspects of Saturday Night Live and The Kids in the Hall, I would recommend seeing Dick. Then tell me who is your favorite Woodward and Bernstein paring: Robert Redford and Dustin Hoffman, or Will Ferrell and Bruce McCulloch? Yeah, the choice is tough for me too. Rating: 9/10
]]>Wed, 21 Jan 2009 21:35:12 GMTRisseladaRisselada Blog1/21/2009 4:35:12 PMAll the President's Men I have seen this one a couple times now, and it's one of my favorites. One of the best movies about good journalism (there are a lot of good ones about bad journalism too) and one of my favorite movies based on a true story. And the acting and dialogue are all so very realistic that you almost really believe that if you would have been able to experience the actual events it couldn't be much more thrilling. I'm not blogging about this movie right now just to go along with the recent presidential hype of yesterday's inauguration of Barack Obama. I actually saw this one a couple months ago when my girlfriend rented it on Netflix, and it's just next on my list of movies to mention. But it's easy to imagine that must worse things went on behind the Bush administration than what happened here with Nixon. And lets just hope that Obama's presentation of being and open and honest administration is for real. After watching All the President's Men, it's hard to know who to trust in the world of the media and politics. Oh and if you like this movie and the goofier aspects of Saturday Night Live and The Kids in the Hall, I would recommend seeing Dick. Then tell me who is your favorite Woodward and Bernstein paring: Robert Redford and Dustin Hoffman, or Will Ferrell and Bruce McCulloch? Yeah, the choice is tough for me too. Rating: 9/10 http://www.spout.com/blogs/spoutblog/archive/2008/10/14/36308.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/14/2008 5:01:12 PM
Body: Oliver Stone has long been synonymous with political passion projects, but his latest film, W., may be his most ambitious effort yet, if only because of how quickly the thing came together and got made. Now the serio-comic biopic about our sitting president is about to hit theaters, less than ten months after anyone had heard of its inception, and it’s getting a number of favorable reviews, will possibly rule the box office this weekend, and could even garner an Oscar nomination for Josh Brolin, who portrays the man with the titular initial, George W. Bush. But not all political passion projects are quite as successful as W. is expected to be. Some such films have been banned, while some have simply failed to acquire an audience on more democratic grounds, whether in terms of box office, critical or awards recognition. Yet regardless of the reception of a political passion project, either at the time of release (or intended release) or decades later, it may be regarded as an achievement merely for being made, because it can be a difficult task for a filmmaker, no matter how famous or powerful, to completely, without compromise, express his or her politics using such a collaborative and populist form of art as cinema. We’ve put together a list of 10 political passion projects that were (and are) successful on both levels. They’ve been embraced by a wide audience, a majority of critics and/or the Academy, and they also manage to be as uncompromising in their political passion as is possible in Hollywood. The Great Dictator (Charles Chaplin, 1940) For his first “talkie”, Chaplin took on Hitler and the Nazis when it was still taboo for American media to do so. And it became his biggest hit ever in spite of its controversial subject matter. Considering one of the major problems with W. is reportedly Oliver Stone’s inability to mix the serious scenes with the comic, he might have benefitted from looking again at this film, one of the greatest political satires of all time. Meet John Doe (Frank Capra, 1941) Capra had already made a number of greater films with political subject matter, but this was pretty much his ultimate passion project, a culmination of themes he’d worked with on similar films like Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. But as successful as those films were in terms of Capra’s political expression, and as free as the filmmaker seemed to be throughout his illustrious career at Columbia Pictures, he always felt at least a little stifled by studio head Harry Cohn, and so with this, his first semi-independent project (co-produced and distributed by Warner Bros.), he had the most creative control yet. Unfortunately, the result wasn’t nearly as popular as his past films and the film is also not nearly as tight a work. However, more than 65 years later, it’s still one of the best displays of a filmmaker attempting to work out and express his political ideals in a mainstream film. Wilson (Henry King, 1944) Long before Oliver Stone and political documentarians made it more common and acceptable to make a movie about disliked politicians, producer and 20th Century Fox founder Darryl F. Zanuck developed this passion project about his favorite president, Woodrow Wilson. And the result would seem to have been a great success based on its reception by critics and the Academy Awards (nominated for 10, it won 5 Oscars, including Best Original Screenplay), yet it was a terrible, terrible flop at the box office, apparently because the public didn’t like or care about Wilson as much as Zanuck did. And legend has it that Zanuck was so embarrassed by the failure that he forbade his staff to ever mention its title again. Despite it’s Oscar success, it is unfortunately unavailable on DVD. The Green Berets (Ray Kellogg, John Wayne, John Gaddis and Mervyn LeRoy, 1968) Regardless of whether or not you agree with John Wayne’s politics, you have to give the guy some respect for making a stand with this film, which displays his support for the Vietnam War. It was a bold move for anybody, even one of Hollywood’s biggest stars, to dare go up against the zeitgeist of the times. And of course it was and is very much hated because of its heavy handed pro-war message. Reds (Warren Beatty, 1981) Beatty had already shown himself to be something of a politically minded celebrity, and he would go on to a greater reputation for being a liberal actor/filmmaker, but here with his first solo directing effort, he made an ambitious epic about the American communist John Reed and released it in a year that ushered in the most conservatively materialistic decade of the 20th century. Despite the political climate of the country, though, it was relatively successful at the box office, and it went on to recieve 12 Oscar nominations, of which it won 3, including a Best Director trophy for Beatty. Malcolm X (Spike Lee, 1992) Whether or not you believe it should have been nominated for more Oscars or if it was politically and racially ignored, the success of Malcolm X, both financially and culturally, was a terrific achievement for Spike Lee, who had made and has made less ambitious political passion projects before and since, some even arguably better than this one. Dead Man Walking (Tim Robbins, 1995) Robbins had already begun making political statement films a few years earlier with Bob Roberts, but this film, which he also produced, is the greater passion project. It may occasionally put off supporters of the death penalty, but those performances by Sean Penn and Susan Sarandon (who won an Oscar) simply can not be ignored. The Passion of the Christ (Mel Gibson, 2004) You can’t think about passion projects without this film immediately coming to mind –– and not just because it has the word passion right there in the title. As for the political part, as much as some of us would prefer not to think of religion as being a part of politics, it certainly is, and both the marketing and reception of Gibson’s film were very much from political perspectives, possibly even more so than from straight religious perspectives. Good Night, and Good Luck (George Clooney, 2005) Perhaps the best cinematic celebration of journalism since All the President’s Men, Clooney’s film is also possibly the classiest political passion project since guys like Beatty, Robbins and Clooney decided to go behind the camera and express their ideals. Darfur Now (Ted Braun, 2007) At a time when famous people like George Clooney and the double duty of “Brangelina” get equal respect and flak for being so political, it’s refreshing to see this documentary defend celebrity action while also examining the film’s specific cause. Produced by and featuring Don Cheadle (and also featuring Clooney), the doc is not technically the actor’s project as much as it is Braun’s, yet due to Cheadle’s passionate interest in the Darfur issue and his involvement with and in the film, and because he’s the biggest name on the production, it can certainly be accepted as equally his political effort. Originally posted on:SpoutBlog
]]>Tue, 14 Oct 2008 21:01:12 GMTSpoutBlogSpoutBlog on spout.com10/14/2008 5:01:12 PMOliver Stone has long been synonymous with political passion projects, but his latest film, W., may be his most ambitious effort yet, if only because of how quickly the thing came together and got made. Now the serio-comic biopic about our sitting president is about to hit theaters, less than ten months after anyone had heard of its inception, and it’s getting a number of favorable reviews, will possibly rule the box office this weekend, and could even garner an Oscar nomination for Josh Brolin, who portrays the man with the titular initial, George W. Bush. But not all political passion projects are quite as successful as W. is expected to be. Some such films have been banned, while some have simply failed to acquire an audience on more democratic grounds, whether in terms of box office, critical or awards recognition. Yet regardless of the reception of a political passion project, either at the time of release (or intended release) or decades later, it may be regarded as an achievement merely for being made, because it can be a difficult task for a filmmaker, no matter how famous or powerful, to completely, without compromise, express his or her politics using such a collaborative and populist form of art as cinema. We’ve put together a list of 10 political passion projects that were (and are) successful on both levels. They’ve been embraced by a wide audience, a majority of critics and/or the Academy, and they also manage to be as uncompromising in their political passion as is possible in Hollywood. The Great Dictator (Charles Chaplin, 1940) For his first “talkie”, Chaplin took on Hitler and the Nazis when it was still taboo for American media to do so. And it became his biggest hit ever in spite of its controversial subject matter. Considering one of the major problems with W. is reportedly Oliver Stone’s inability to mix the serious scenes with the comic, he might have benefitted from looking again at this film, one of the greatest political satires of all time. Meet John Doe (Frank Capra, 1941) Capra had already made a number of greater films with political subject matter, but this was pretty much his ultimate passion project, a culmination of themes he’d worked with on similar films like Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. But as successful as those films were in terms of Capra’s political expression, and as free as the filmmaker seemed to be throughout his illustrious career at Columbia Pictures, he always felt at least a little stifled by studio head Harry Cohn, and so with this, his first semi-independent project (co-produced and distributed by Warner Bros.), he had the most creative control yet. Unfortunately, the result wasn’t nearly as popular as his past films and the film is also not nearly as tight a work. However, more than 65 years later, it’s still one of the best displays of a filmmaker attempting to work out and express his political ideals in a mainstream film. Wilson (Henry King, 1944) Long before Oliver Stone and political documentarians made it more common and acceptable to make a movie about disliked politicians, producer and 20th Century Fox founder Darryl F. Zanuck developed this passion project about his favorite president, Woodrow Wilson. And the result would seem to have been a great success based on its reception by critics and the Academy Awards (nominated for 10, it won 5 Oscars, including Best Original Screenplay), yet it was a terrible, terrible flop at the box office, apparently because the public didn’t like or care about Wilson as much as Zanuck did. And legend has it that Zanuck was so embarrassed by the failure that he forbade his staff to ever mention its title again. Despite it’s Oscar success, it is unfortunately unavailable on DVD. The Green Berets (Ray Kellogg, John Wayne, John Gaddis and Mervyn LeRoy, 1968) Regardless of whether or not you agree with John Wayne’s politics, you have to give the guy some respect for making a stand with this film, which displays his support for the Vietnam War. It was a bold move for anybody, even one of Hollywood’s biggest stars, to dare go up against the zeitgeist of the times. And of course it was and is very much hated because of its heavy handed pro-war message. Reds (Warren Beatty, 1981) Beatty had already shown himself to be something of a politically minded celebrity, and he would go on to a greater reputation for being a liberal actor/filmmaker, but here with his first solo directing effort, he made an ambitious epic about the American communist John Reed and released it in a year that ushered in the most conservatively materialistic decade of the 20th century. Despite the political climate of the country, though, it was relatively successful at the box office, and it went on to recieve 12 Oscar nominations, of which it won 3, including a Best Director trophy for Beatty. Malcolm X (Spike Lee, 1992) Whether or not you believe it should have been nominated for more Oscars or if it was politically and racially ignored, the success of Malcolm X, both financially and culturally, was a terrific achievement for Spike Lee, who had made and has made less ambitious political passion projects before and since, some even arguably better than this one. Dead Man Walking (Tim Robbins, 1995) Robbins had already begun making political statement films a few years earlier with Bob Roberts, but this film, which he also produced, is the greater passion project. It may occasionally put off supporters of the death penalty, but those performances by Sean Penn and Susan Sarandon (who won an Oscar) simply can not be ignored. The Passion of the Christ (Mel Gibson, 2004) You can’t think about passion projects without this film immediately coming to mind –– and not just because it has the word passion right there in the title. As for the political part, as much as some of us would prefer not to think of religion as being a part of politics, it certainly is, and both the marketing and reception of Gibson’s film were very much from political perspectives, possibly even more so than from straight religious perspectives. Good Night, and Good Luck (George Clooney, 2005) Perhaps the best cinematic celebration of journalism since All the President’s Men, Clooney’s film is also possibly the classiest political passion project since guys like Beatty, Robbins and Clooney decided to go behind the camera and express their ideals. Darfur Now (Ted Braun, 2007) At a time when famous people like George Clooney and the double duty of “Brangelina” get equal respect and flak for being so political, it’s refreshing to see this documentary defend celebrity action while also examining the film’s specific cause. Produced by and featuring Don Cheadle (and also featuring Clooney), the doc is not technically the actor’s project as much as it is Braun’s, yet due to Cheadle’s passionate interest in the Darfur issue and his involvement with and in the film, and because he’s the biggest name on the production, it can certainly be accepted as equally his political effort. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/9/2/34658.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/2/2008 4:00:50 PM
Body: The Democratic National Convention is over, and all the ecstatic party members have left Denver to go back to their zombie-esque lives (Bob Hope said it, not me). But after four days of celebrating what it means to be a Democrat, some may not wish to settle down and calmly wait out the next two months until Obama’s (possible) win, let alone the next five months waiting for the candidate to (possibly) be sworn in as President, participating in the normal non-specifically-Democratic, non-self-congratulatory activities that most of us are content with. So, one thing excited Democrats can do is watch movies that will continue to inspire and encourage their beliefs and politics. As Karina already wrote, The American President is one movie that just barely may allow Obama fans to relive his DNC speech. Also, beginning yesterday, the Oscar-nominated documentary No End in Sight will be available in full on YouTube through till Election Day. Of course, there’s always other anti-war and anti-Bush docs for free viewing online, at such sites as SnagFilms and FreeDocumentaries.org. And since there are so many docs out there that can make a Democrat giddy with the want for change, I’ve decided to limit today’s list to fictions and dramatizations, because they are more about feelings than facts, and that’s all you really need for political inspiration these days. As usual, I’m leaving out a lot of picks, both obvious and obscure, so feel free to tell us what movie make you feel most proud to be a Democrat. Mr. Deeds Goes to Town - Never mind that Frank Capra voted Republican or that ultimately this film has rather conservative messages regarding traditionalism, privatization and self-sufficiency; all the allusions to the New Deal are strong enough to excite any Rooseveltian liberal. In its time it may have fooled the population by seeming pro-FDR, but today it can still be appreciated by Democrats for demonstrating the President’s Depression-era programs in a way that may be celebrated by those who believe in them. Just concentrate more on screenwriter Robert Riskin’s influence and contribution and ignore Capra’s underlying and conclusive ideology. Cradle Will Rock - Another Depression-era film, though this one was made 63 years later and is actually pro-New Deal, directed by the openly liberal actor/filmmaker Tim Robbins. In a way, it’s probably more left-wing than even some Democrats can agree with, but a general appreciation for government-funded and supported arts, as well as a hatred of conservative-pressured cuts to similar programs, should allow most in the party to enjoy the film. The People vs. Larry Flynt - You can’t have a Democratic film marathon without at least one title celebrating the First Amendment. Feel free to substitute with Lenny, or just add it to the list. Roe vs. Wade - A TV movie, sure, and not even a great one, but when it comes to films about women’s right to choose, you’ve either got great foreign films (Vera Drake; 4 Months, 3 Weeks and 2 Days), which don’t exactly represent U.S. politics, documentaries (which don’t qualify the list), and satires (Citizen Ruth would be a decent inclusion, maybe, but it kind of ridicules all sides). So, here’s the direct dramatization of the court case that made history. Thirteen Days - JFK’s presidency is well-enough renowned by the Democratic Party, but this specific portrayal of one of his greatest moments in office is also important viewing for fans of RFK and Adlai Stevenson. Dick - It’s possible to get excited while watching All the President’s Men and celebrating the outcome of Woodward and Bernstein’s investigation, but Dick is a little more anti-Nixon, at least in a lampooning manner. Plus, as great as Redford and Hoffman are in AtPM, I prefer Will Ferrell and Bruce McCullough as the journalists who helped to take down the corrupt Republican. Harold and Kumar Escape from Guantanamo Bay - And if you prefer Dan Hedaya’s humorous portrayal of Nixon in Dick to Anthony Hopkins in Nixon, you’ll likely enjoy James Adomian’s caricature of George W. Bush in this Harold & Kumar sequel. It’s a little jokingly apologetic, but it will tide you over until W. comes out — if you’re even eager to see a full biopic about your worst enemy, that is. Inherit the Wind - Based on the infamous 1925 trial of science teacher John T. Scopes, who was convicted for teaching evolution in a state allowing only creationism to be taught, this 1960 adaptation of Jerome Lawrence and Robert E. Lee’s play continues to be significant in the ongoing debate regarding science vs. religion and the division of Church and State. To Kill a Mockingbird - Since I can’t decide on any movies to include that directly deal with the Civil Rights Act, here’s the movie based on the book that inspired me most about civil rights when I was young. It should be required viewing (and the book should be required reading) for all kids of impressionable age. Three Kings - I certainly wouldn’t vote for somebody solely based on his or her movie tastes, but I will admit to liking Bill Clinton a little bit more, post-presidency, after learning from his guest appearance on Roger Ebert & the Movies that he loved Three Kings. And, the other way around, I had an even greater appreciation for the film after Clinton’s endorsement, which included a reading of the film, which goes as follows (thanks to Salon for the quote and lead-in): He saw the movie as an indication that we need to face up to society’s “oldest, most primitive problem, our tribalism, our tendency to go beyond a natural pride in our group, whether it’s a racial or ethnic or religious group or whatever,” which results in “fear and distrust and dehumanization and violence against ‘the other.’” Of course, just because Clinton liked Three Kings doesn’t mean other Democrats will. Or vice versa. Ronald Reagan was apparently a big fan of Mr. Deeds Goes to Town, which hasn’t made me any less of a fan. So, I’ll ask again, differently, since the Democratic Party is anything but completely united: what movies are most relevant to your politics as a Democrat? Originally posted on:SpoutBlog
]]>Tue, 02 Sep 2008 20:00:50 GMTSpoutBlogSpoutBlog on spout.com9/2/2008 4:00:50 PMThe Democratic National Convention is over, and all the ecstatic party members have left Denver to go back to their zombie-esque lives (Bob Hope said it, not me). But after four days of celebrating what it means to be a Democrat, some may not wish to settle down and calmly wait out the next two months until Obama’s (possible) win, let alone the next five months waiting for the candidate to (possibly) be sworn in as President, participating in the normal non-specifically-Democratic, non-self-congratulatory activities that most of us are content with. So, one thing excited Democrats can do is watch movies that will continue to inspire and encourage their beliefs and politics. As Karina already wrote, The American President is one movie that just barely may allow Obama fans to relive his DNC speech. Also, beginning yesterday, the Oscar-nominated documentary No End in Sight will be available in full on YouTube through till Election Day. Of course, there’s always other anti-war and anti-Bush docs for free viewing online, at such sites as SnagFilms and FreeDocumentaries.org. And since there are so many docs out there that can make a Democrat giddy with the want for change, I’ve decided to limit today’s list to fictions and dramatizations, because they are more about feelings than facts, and that’s all you really need for political inspiration these days. As usual, I’m leaving out a lot of picks, both obvious and obscure, so feel free to tell us what movie make you feel most proud to be a Democrat. Mr. Deeds Goes to Town - Never mind that Frank Capra voted Republican or that ultimately this film has rather conservative messages regarding traditionalism, privatization and self-sufficiency; all the allusions to the New Deal are strong enough to excite any Rooseveltian liberal. In its time it may have fooled the population by seeming pro-FDR, but today it can still be appreciated by Democrats for demonstrating the President’s Depression-era programs in a way that may be celebrated by those who believe in them. Just concentrate more on screenwriter Robert Riskin’s influence and contribution and ignore Capra’s underlying and conclusive ideology. Cradle Will Rock - Another Depression-era film, though this one was made 63 years later and is actually pro-New Deal, directed by the openly liberal actor/filmmaker Tim Robbins. In a way, it’s probably more left-wing than even some Democrats can agree with, but a general appreciation for government-funded and supported arts, as well as a hatred of conservative-pressured cuts to similar programs, should allow most in the party to enjoy the film. The People vs. Larry Flynt - You can’t have a Democratic film marathon without at least one title celebrating the First Amendment. Feel free to substitute with Lenny, or just add it to the list. Roe vs. Wade - A TV movie, sure, and not even a great one, but when it comes to films about women’s right to choose, you’ve either got great foreign films (Vera Drake; 4 Months, 3 Weeks and 2 Days), which don’t exactly represent U.S. politics, documentaries (which don’t qualify the list), and satires (Citizen Ruth would be a decent inclusion, maybe, but it kind of ridicules all sides). So, here’s the direct dramatization of the court case that made history. Thirteen Days - JFK’s presidency is well-enough renowned by the Democratic Party, but this specific portrayal of one of his greatest moments in office is also important viewing for fans of RFK and Adlai Stevenson. Dick - It’s possible to get excited while watching All the President’s Men and celebrating the outcome of Woodward and Bernstein’s investigation, but Dick is a little more anti-Nixon, at least in a lampooning manner. Plus, as great as Redford and Hoffman are in AtPM, I prefer Will Ferrell and Bruce McCullough as the journalists who helped to take down the corrupt Republican. Harold and Kumar Escape from Guantanamo Bay - And if you prefer Dan Hedaya’s humorous portrayal of Nixon in Dick to Anthony Hopkins in Nixon, you’ll likely enjoy James Adomian’s caricature of George W. Bush in this Harold & Kumar sequel. It’s a little jokingly apologetic, but it will tide you over until W. comes out — if you’re even eager to see a full biopic about your worst enemy, that is. Inherit the Wind - Based on the infamous 1925 trial of science teacher John T. Scopes, who was convicted for teaching evolution in a state allowing only creationism to be taught, this 1960 adaptation of Jerome Lawrence and Robert E. Lee’s play continues to be significant in the ongoing debate regarding science vs. religion and the division of Church and State. To Kill a Mockingbird - Since I can’t decide on any movies to include that directly deal with the Civil Rights Act, here’s the movie based on the book that inspired me most about civil rights when I was young. It should be required viewing (and the book should be required reading) for all kids of impressionable age. Three Kings - I certainly wouldn’t vote for somebody solely based on his or her movie tastes, but I will admit to liking Bill Clinton a little bit more, post-presidency, after learning from his guest appearance on Roger Ebert & the Movies that he loved Three Kings. And, the other way around, I had an even greater appreciation for the film after Clinton’s endorsement, which included a reading of the film, which goes as follows (thanks to Salon for the quote and lead-in): He saw the movie as an indication that we need to face up to society’s “oldest, most primitive problem, our tribalism, our tendency to go beyond a natural pride in our group, whether it’s a racial or ethnic or religious group or whatever,” which results in “fear and distrust and dehumanization and violence against ‘the other.’” Of course, just because Clinton liked Three Kings doesn’t mean other Democrats will. Or vice versa. Ronald Reagan was apparently a big fan of Mr. Deeds Goes to Town, which hasn’t made me any less of a fan. So, I’ll ask again, differently, since the Democratic Party is anything but completely united: what movies are most relevant to your politics as a Democrat? Originally posted on:SpoutBlog http://www.spout.com/blogs/diabolical_shadow/archive/2008/8/5/33541.aspx Post By: Diabolical_Shadow
Post To: Diabolical_Shadow Blog
Post Date: 8/5/2008 12:36:49 AM
Body: ALL THE PRESIDENT’S MEN 1976 – R – 138 Min. D: Alan J. Pakula S: Dustin Hoffman – Robert Redford – Jason Robards – Hal Holbrook – Jack Warden – Martin Balsam Warner Brothers 2-Disc special edition DVD Anamorphic Widescreen / Dolby Digital Mono Extras: An entire discs worth. Magnetic and thrilling tale detailing uncovering of facts in the Watergate scandal by young Washington Post reporters Bob Woodward and Carl Bernstein. Movie brings every bit as much drama and intrigue to the screen as the unfolding story once brought into peoples living rooms. Viewers will be further drawn in by a talented group of familiar faces that are mesmerizing from start to finish. As much a detective story as a political docudrama, Pakula and company have crafted an important and relentlessly entertaining motion picture illustrating the power of the written word. Hoffman and Redford offer believable chemistry while the building sense of urgency and paranoia is as effective as ever. Holbrook is a scene-stealer as the shadowy informant known only as Deep-Throat. If you weren’t there you’ll certainly feel like you were by the time the credits roll. Excellent in every respect.
]]>Tue, 05 Aug 2008 04:36:49 GMTDiabolical_ShadowDiabolical_Shadow Blog8/5/2008 12:36:49 AMALL THE PRESIDENT&rsquo;S MEN 1976 &ndash; R &ndash; 138 Min. D: Alan J. Pakula S: Dustin Hoffman &ndash; Robert Redford &ndash; Jason Robards &ndash; Hal Holbrook &ndash; Jack Warden &ndash; Martin Balsam Warner Brothers 2-Disc special edition DVD Anamorphic Widescreen / Dolby Digital Mono Extras: An entire discs worth. Magnetic and thrilling tale detailing uncovering of facts in the Watergate scandal by young Washington Post reporters Bob Woodward and Carl Bernstein. Movie brings every bit as much drama and intrigue to the screen as the unfolding story once brought into peoples living rooms. Viewers will be further drawn in by a talented group of familiar faces that are mesmerizing from start to finish. As much a detective story as a political docudrama, Pakula and company have crafted an important and relentlessly entertaining motion picture illustrating the power of the written word. Hoffman and Redford offer believable chemistry while the building sense of urgency and paranoia is as effective as ever. Holbrook is a scene-stealer as the shadowy informant known only as Deep-Throat. If you weren&rsquo;t there you&rsquo;ll certainly feel like you were by the time the credits roll. Excellent in every respect. http://www.spout.com/groups/Movie_Games/Re_Pick_a_Pair/598/33149/1/ShowPost.aspx Post By: Risselada
Post To: Movie Games
Post Date: 7/27/2008 8:16:40 PM
Body: [quote user="Tenenbaums"] All The President's Men and Dick The compelling, journalistic Watergate and the hilarious explanations for the mysteries of Nixon (i.e. the missing section of tape; the double peace signs; inspiration for Deepthroat; etc.). Plus, Will Ferrell as Bob Woodward and Harry Shearer as G. Gordon Liddy? Good stuff. [/quote] Uh, don't mention Will Ferrell as Bob Woodward in this movie without also mentioning Bruce McCulloch as Carl Bernstein. I was shocked when I started watching this movie. I never expected to see them as a pair, but it was a delight!
]]>Mon, 28 Jul 2008 00:16:40 GMTRisseladaMovie Games7/27/2008 8:16:40 PM[quote user="Tenenbaums"] All The President's Men and Dick The compelling, journalistic Watergate and the hilarious explanations for the mysteries of Nixon (i.e. the missing section of tape; the double peace signs; inspiration for Deepthroat; etc.). Plus, Will Ferrell as Bob Woodward and Harry Shearer as G. Gordon Liddy? Good stuff. [/quote] Uh, don't mention Will Ferrell as Bob Woodward in this movie without also mentioning Bruce McCulloch as Carl Bernstein. I was shocked when I started watching this movie. I never expected to see them as a pair, but it was a delight! http://www.spout.com/groups/Movie_Games/Re_Pick_a_Pair/598/32949/1/ShowPost.aspx Post By: Tenenbaums
Post To: Movie Games
Post Date: 7/23/2008 12:56:06 PM
Body: Two double features that we actually did in my college film society were: Plan 9 From Outer Space and Ed Wood The oft-called "worst movie ever" and the excellent story of the man who made it happen. All The President's Men and Dick The compelling, journalistic Watergate and the hilarious explanations for the mysteries of Nixon (i.e. the missing section of tape; the double peace signs; inspiration for Deepthroat; etc.). Plus, Will Ferrell as Bob Woodward and Harry Shearer as G. Gordon Liddy? Good stuff.
]]>Wed, 23 Jul 2008 16:56:06 GMTTenenbaumsMovie Games7/23/2008 12:56:06 PMTwo double features that we actually did in my college film society were: Plan 9 From Outer Space and Ed Wood The oft-called "worst movie ever" and the excellent story of the man who made it happen. All The President's Men and Dick The compelling, journalistic Watergate and the hilarious explanations for the mysteries of Nixon (i.e. the missing section of tape; the double peace signs; inspiration for Deepthroat; etc.). Plus, Will Ferrell as Bob Woodward and Harry Shearer as G. Gordon Liddy? Good stuff. http://www.spout.com/blogs/minerwerks/archive/2008/5/27/30059.aspx Post By: minerwerks
Post To: minerwerks Blog
Post Date: 5/27/2008 11:27:38 PM
Body: Nothing like a tragic loss in the film world to remind me how broad the art of film can be and how many worthy films are out there that I have yet to view. Earlier this year, when reviewing the Oscar nominees for Best Picture, I singled out Sydney Pollack's performance in 'Michael Clayton' as being particularly good. In the later part of his career - the part most familar to myself as a relative youngster - Pollack was best known as a producer and actor. While I knew of him as a director, it turns out I have been ridiculously neglectful of the man's filmography. Of course, most people have seen 'Tootsie,' the 1982 comedy that starred a cross-dressing Dustin Hoffman. But other than this blockbuster, the only Pollack-directred film I've actually seen is 'The Firm' (not a bad film, if I may say). But Pollack, we should not forget, was an Oscar-winner. He directed 'Out of Africa,' starring Meryl Streep and Robert Redford, two of the cinema's most likable performers. And though Redford has been in some of my favorite films ('All the President's Men,' 'Sneakers'), I haven't seen a single one of Pollack's films starring Mr. Sundance himself. There's the political thriller 'Three Days of the Condor,' the prototypical romance 'The Way We Were,' and the western drama 'Jeremiah Johnson,' among others (seven in total). In the later years, I had seen and admired Pollack's acting in 'Eyes Wide Shut' and 'Changing Lanes,' and I had expected to see his directorial effort 'The Interpreter' when it was released, but it just didn't happen. And of all the films in Pollack's filmography, why on earth have I never seen 'They Shoot Horses, Don't They?' Thankfully, we have a rich filmography as a director, actor and producer to enjoy for years to come, but it's a shame that Mr. Pollack had to depart this Earth while he still had vibrancy and talent to offer the film industry. He will be missed.
]]>Wed, 28 May 2008 03:27:38 GMTminerwerksminerwerks Blog5/27/2008 11:27:38 PMNothing like a tragic loss in the film world to remind me how broad the art of film can be and how many worthy films are out there that I have yet to view. Earlier this year, when reviewing the Oscar nominees for Best Picture, I singled out Sydney Pollack's performance in 'Michael Clayton' as being particularly good. In the later part of his career - the part most familar to myself as a relative youngster - Pollack was best known as a producer and actor. While I knew of him as a director, it turns out I have been ridiculously neglectful of the man's filmography. Of course, most people have seen 'Tootsie,' the 1982 comedy that starred a cross-dressing Dustin Hoffman. But other than this blockbuster, the only Pollack-directred film I've actually seen is 'The Firm' (not a bad film, if I may say). But Pollack, we should not forget, was an Oscar-winner. He directed 'Out of Africa,' starring Meryl Streep and Robert Redford, two of the cinema's most likable performers. And though Redford has been in some of my favorite films ('All the President's Men,' 'Sneakers'), I haven't seen a single one of Pollack's films starring Mr. Sundance himself. There's the political thriller 'Three Days of the Condor,' the prototypical romance 'The Way We Were,' and the western drama 'Jeremiah Johnson,' among others (seven in total). In the later years, I had seen and admired Pollack's acting in 'Eyes Wide Shut' and 'Changing Lanes,' and I had expected to see his directorial effort 'The Interpreter' when it was released, but it just didn't happen. And of all the films in Pollack's filmography, why on earth have I never seen 'They Shoot Horses, Don't They?' Thankfully, we have a rich filmography as a director, actor and producer to enjoy for years to come, but it's a shame that Mr. Pollack had to depart this Earth while he still had vibrancy and talent to offer the film industry. He will be missed. http://www.spout.com/blogs/unclefestering/archive/2008/5/6/28281.aspx Post By: unclefestering
Post To: unclefestering Blog
Post Date: 5/6/2008 11:46:42 PM
Body: The Parallex View captures the feeling of distrust and paranoia (or is it paranoid if they really are out to get you) in the government and in corporations that pervaded the country in the early 70s. (see All the President's Men (1976) ) The movie is very dark. Maybe it was too dark for its time, because it was passed over when it first came out, but has gained a justly deserved cult following since then
]]>Wed, 07 May 2008 03:46:42 GMTunclefesteringunclefestering Blog5/6/2008 11:46:42 PMThe Parallex View captures the feeling of distrust and paranoia (or is it paranoid if they really are out to get you) in the government and in corporations that pervaded the country in the early 70s. (see All the President's Men (1976) ) The movie is very dark. Maybe it was too dark for its time, because it was passed over when it first came out, but has gained a justly deserved cult following since then http://www.spout.com/groups/Filmspotting/Re_Top_5_Journalism_Movies/304/11852/1/ShowPost.aspx Post By: Risselada
Post To: Filmspotting
Post Date: 6/23/2007 6:07:59 PM
Body: Some of these movies feature journalism more centrally some more incidentally.1. Fear and Loathing in Las Vegas - Gonzo Journalism at it's most iconic2. Citizen Kane - Journalism as a theme and part of the structure3. Shattered Glass - true story of fake stories4. All The President's Men5. No Man's Land - how journalism doesn't just report on wars, but often affects wars, and sometimes even starts them Runner's up - Shock Corridor, The Hudsucker Proxy, Mr. Smith Goes to Washington, Good Night, and Good Luck.
]]>Sat, 23 Jun 2007 22:07:59 GMTRisseladaFilmspotting6/23/2007 6:07:59 PMSome of these movies feature journalism more centrally some more incidentally.1. Fear and Loathing in Las Vegas - Gonzo Journalism at it&#39;s most iconic2. Citizen Kane - Journalism as a theme and part of the structure3. Shattered Glass - true story of fake stories4. All The President&#39;s Men5. No Man&#39;s Land - how journalism doesn&#39;t just report on wars, but often affects wars, and sometimes even starts them Runner&#39;s up - Shock Corridor, The Hudsucker Proxy, Mr. Smith Goes to Washington, Good Night, and Good Luck. http://www.spout.com/blogs/bigjefflebowski/archive/2006/10/14/3250.aspx Post By: BigJeffLebowski
Post To: BigJeffLebowski Blog
Post Date: 10/14/2006 12:29:00 PM
Body: Early in the film All the President's Men, Editor of the Washington Post Harry M. Rosenfield (Jack Warden) tells reporters Bob Woodward and Carl Bernstein (Robert Redford and Dustin Hoffman) that "Charles Colson, special counsel to the president, has a cartoon on his wall. The caption reads 'When you've got 'em by the balls, their hearts and minds will follow.'" This could just as easily apply to the film; All the President's Men grabs viewers with its first shot -- an extreme close up of a typewriter banging out the date -- and, without the use of the gratuitous histrionics of most thrillers, doesn't let let them go until its close.All the President's Men tells the story of Woodward and Bernstein, the reporters who broke the Watergate scandal and followed the story all the way through. The two fought to get the scoop, fought to tell the story, fought to find the truth, and then fought to get it published. (There was a lot of fighting, as you can tell.) The film is based on the book they went on to write which detailed the endeavor, and neither the book nor the movie brush up the relationship they had. Woodward is the new guy with the story, and Bernstein is the established reporter who wants in. Bernstein doesn't muscle in very discreetly, either. He boorishly takes Woodward's article and rewrites it, explaining that it lacks an effective news story structure. From that point on, they are working together -- almost against each other, really -- each one trying to get the better scoop before the other. Once they've got some hard evidence, they pass it on through the executive staff headed by Ben Bradlee (Jason Robards, in a role that won him an Oscar) and into the public consciousness. They face a lot of opposition: they can't get people on the phone, the paper is wary of printing their articles, and they are constantly directed in circles by their sources. The only person who gives them any salient information is Woodward's mysterious and (until recently) unidentified informer Deep Throat (Hal Holbrook). Alan J. Pakula built a name for himself directing intelligent thrillers like Klute and The Parallax View. With All the President's Men, he uses his prowess to consistently hit all the right notes in telling a truly absorbing and suspenseful story. He is known to nuance his films and imbue as many accurate details as possible, and one of the most striking aspects of the film is how well we come to know the characters simply through their environment. The only time we see them at home, for instance, is asleep in a messy room about to be woken up by a phone call that will draw them back out to work. Another fine example is the presence of editor Harry M. Rosenfield. Early on in the film, he constantly looms in the frame, looking over the two reporters; as the film progresses, however, his presence is reduced to the point that he is only on screen when it comes to publishing time. That sense of detail and deliberation continues into the acting. The entire cast is perfectly chosen and deliver some of the best performances of their respective careers. Jason Robards gives a third dimension to what could easily have been a place-holder role with Ben Bradlee, and his Oscar is well-deserved. He plays the poker-faced executive editor to perfection, only letting emotion slip out in a knock on a desk or a single clap as he walks away. Many people will see this movie to learn about the Watergate scandal. They are wrong in doing so. This film, intentionally and smartly, never acts out the events of the scandal itself. The only time we see Nixon -- or really any political figure -- is on television through stock footage. The film is about Woodward and Bernstein, not Nixon, and wisely jumps right from the final verification and completion of their story to Nixon's resignation (presented to the audience as facts-only copy in a closing montage) to the credits. This is not shorthand filmmaking, but rather astute understanding of the film's focus; in All the President's Men, when Woodward and Bernstein's story is over, there's nothing left to tell.
]]>Sat, 14 Oct 2006 16:29:00 GMTBigJeffLebowskiBigJeffLebowski Blog10/14/2006 12:29:00 PMEarly in the film All the President's Men, Editor of the Washington Post Harry M. Rosenfield (Jack Warden) tells reporters Bob Woodward and Carl Bernstein (Robert Redford and Dustin Hoffman) that "Charles Colson, special counsel to the president, has a cartoon on his wall. The caption reads 'When you've got 'em by the balls, their hearts and minds will follow.'" This could just as easily apply to the film; All the President's Men grabs viewers with its first shot -- an extreme close up of a typewriter banging out the date -- and, without the use of the gratuitous histrionics of most thrillers, doesn't let let them go until its close.All the President's Men tells the story of Woodward and Bernstein, the reporters who broke the Watergate scandal and followed the story all the way through. The two fought to get the scoop, fought to tell the story, fought to find the truth, and then fought to get it published. (There was a lot of fighting, as you can tell.) The film is based on the book they went on to write which detailed the endeavor, and neither the book nor the movie brush up the relationship they had. Woodward is the new guy with the story, and Bernstein is the established reporter who wants in. Bernstein doesn't muscle in very discreetly, either. He boorishly takes Woodward's article and rewrites it, explaining that it lacks an effective news story structure. From that point on, they are working together -- almost against each other, really -- each one trying to get the better scoop before the other. Once they've got some hard evidence, they pass it on through the executive staff headed by Ben Bradlee (Jason Robards, in a role that won him an Oscar) and into the public consciousness. They face a lot of opposition: they can't get people on the phone, the paper is wary of printing their articles, and they are constantly directed in circles by their sources. The only person who gives them any salient information is Woodward's mysterious and (until recently) unidentified informer Deep Throat (Hal Holbrook). Alan J. Pakula built a name for himself directing intelligent thrillers like Klute and The Parallax View. With All the President's Men, he uses his prowess to consistently hit all the right notes in telling a truly absorbing and suspenseful story. He is known to nuance his films and imbue as many accurate details as possible, and one of the most striking aspects of the film is how well we come to know the characters simply through their environment. The only time we see them at home, for instance, is asleep in a messy room about to be woken up by a phone call that will draw them back out to work. Another fine example is the presence of editor Harry M. Rosenfield. Early on in the film, he constantly looms in the frame, looking over the two reporters; as the film progresses, however, his presence is reduced to the point that he is only on screen when it comes to publishing time. That sense of detail and deliberation continues into the acting. The entire cast is perfectly chosen and deliver some of the best performances of their respective careers. Jason Robards gives a third dimension to what could easily have been a place-holder role with Ben Bradlee, and his Oscar is well-deserved. He plays the poker-faced executive editor to perfection, only letting emotion slip out in a knock on a desk or a single clap as he walks away. Many people will see this movie to learn about the Watergate scandal. They are wrong in doing so. This film, intentionally and smartly, never acts out the events of the scandal itself. The only time we see Nixon -- or really any political figure -- is on television through stock footage. The film is about Woodward and Bernstein, not Nixon, and wisely jumps right from the final verification and completion of their story to Nixon's resignation (presented to the audience as facts-only copy in a closing montage) to the credits. This is not shorthand filmmaking, but rather astute understanding of the film's focus; in All the President's Men, when Woodward and Bernstein's story is over, there's nothing left to tell. http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
Number of films tagged: 509

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Number of films tagged: 199

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