Description
Book SynopsisAlan J. Pakula’s political thriller
All the President’s Men (1976) was met with immediate critical and commercial success upon its release, finishing second at the box office and earning seven Academy Award nominations. Through a close reading of key scenes, performances and stylistic decisions, Christian Keathley and Robert B. Ray show how the film derives its narrative power through a series of controlled oppositions: silence vs. noise; stationary vs. moving camera; dark vs. well-lit scenes and shallow vs. deep focus, tracing how these elements combine to create an underlying formal design crucial to the film’s achievement. They argue that the film does not fit the auteurist model of New Hollywood film-makers such as Coppola and Scorsese. Instead,
All the President’s Men more closely resembles a studio-era film, the result of a collaboration between a producer (Robert Redford), multiple scriptwriters, a skilful director, important stars (Robert Redford and Dustin Hoffman), a distinctive cameraman (Gordon Willis), an imaginative art director (George Jenkins) and ingenious sound designers, who together created an enduringly great film.
Trade ReviewAn exemplary analysis of the workings of Pakula’s film, a truly insightful study of the way it has been put together and of the sense that its formal details make … I can’t recommend it highly enough. * Film Alert 101 *
This stealthy dissection of Alan J. Pakula's seminal political thriller promises to "imitate" reporters Bernstein and Woodward by "asking questions and taking notes and making connections". Job Done. Strong on context, the book really takes flight with its often shot-by-shot analysis, which places everything from bicycle wheels to banjos under the microscope. -- James Mottram * Total Film *
Table of ContentsAcknowledgements Introduction 1.Who’s in Control? 2.The Scripts and Their Ellipses 3.Cast Performance Styles 4.Découpage and Dialectics Conclusion Notes Credits
