“That’s why they call it the American Dream, because you have to be asleep to believe it.” ― George Carlin
J. Paul Getty was not just the richest man who walked the earth in 1973, he was one of the richest man who had ever walked it. He found oil in Saudi Arabia and was an infamous penny pincher. He achieved the success we all dream of in one way or another.
But Getty, no matter how smart or savvy or wary he was, lacked the humanity we all hope we have. On July 10th of 1973, Getty’s grandson, Paul Getty Jr., was kidnapped in Rome by Italian gangsters. They asked for $17 million as ransom. Getty refused, and in the end, only paid $2 million, because that was what he could get as a tax credit.
It makes you wonder, was it the money that turned Getty Sr. into stone? Or was it in him all along? Or do you have to stay asleep to some things to keep the American dream? To believe it’s worth it?
With Getty Sr. as an immovable force, it’s up to Getty Jr.’s mother Gail (Michelle Williams) to fight for her son’s life, and Fletcher Chase (Mark Wahlberg) to help negotiate Getty Jr.’s release. As they suffer loss after loss, with Getty Jr. slipping from their grip, they’ll wake up to some realities of their own.
To me, All the Money in the World is as intense as Christopher Nolan’s Dunkirk. While Dunkirk relies on the cold hand of time, All the Money in the World relies on the anticipation that something is going to happen, I was just not sure what. This might be because I didn’t know anything about the Getty story going in. I’m sure it will be different for everyone, but for me, watching a boy my age being kidnapped, tortured, with my own mother sitting beside me, watching the mother on screen do everything in her power, well, it got to me. I even nearly threw up during one scene (you’ll know it when you see it), and I had my eyes closed. The film leaves every scene with a cliffhanger, keeping the audience as frustrated as the characters, pulling us along and then making us lose hope over and over again, until the final scene where we can breathe a sigh of relief. It’s the kind of engrossing experience that only film can provide.
Christopher Plummer has been getting all the publicity for replacing Kevin Spacey mere weeks before the film’s release date, but this truly is an ensemble film. Plummer, though, does deserve all the credit he is getting. He makes nuance out of a role that would have just been stitched together with thematic lines. His and director Ridley Scott’s professionalism and talent are the real takeaway from the reshoots.
Michelle Williams gives a nomination-worthy performance as Abigail Getty Harris. She infuses grit and determination into the character, and she rejects every normal “hysterical mother” trope given to her, holding the screen in a fierce grip that puts her among the best female performances of the year.
Mark Wahlberg makes no impression here. I suppose his character is necessary, but… you know. Meh Wahlberg. Not a performance that, I dare say, is worth eight times more than Michelle Williams’. (http://www.vulture.com/2018/01/michelle-williams-paid-8-times-less-than-mark-wahlberg-for-all-the-money-in-the-world.html).
On the other side of the story, Romain Duris as Cinquanta, aka, “the nice kidnapper,” is incredibly charismatic and gives a tender performance. He and Charlie Plummer have the chemistry it takes to make the scenes of Paul’s imprisonment more compelling than they are written to be, and it’s a shame he is being overlooked in coverage of the film.
I like to say that a movie needs to justify its existence. Why is it a film I should spend money and time on? Particularly for live-action dramas.For example, I didn’t think last year’s Loving or this year’s Darkest Hour elevated their respective material to a cinematic level. Both of those films were high quality, but I didn’t gain something from watching them I couldn’t have gained from reading a Wikipedia article about their subjects.
All the Money in the World gives the audience multiple reasons for why it is a movie. The film is thrilling, and the adrenaline from watching it is not something you’ll get from a detached experience of reading it. And the film, no matter how bluntly, tries to say something about wealth, and create themes out of the historical events. Most of the time, it succeeds. And it’s an exciting ride nevertheless. It kept me engaged and left me with things to think about.
Ironically enough, a film that explores the selfishness and corruption of Paul Getty Sr., and his refusal to awaken to his family’s needs, has been a film that through behind-the-scenes drama has been a part of Hollywood’s own awakening to its corruption. Kevin Spacey’s sexual assault allegations were punished, and the revelations about the pay disparity between Williams and Wahlberg have pushed home the persistent gender pay gap. Let’s just hope Hollywood, unlike Getty, doesn’t try to fix things cheaply.