All The Way Review

Will Ashton reviews HBO's All The Way

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Bryan Cranston was perhaps destined to play Lyndon B. Johnson. The California-born actor isn’t necessarily Southern breed, by any stretch of the imagination, but he carries a unquenchable fire, a furious tenacity and an unflinching emotional versatility that, under the right circumstances, can provide uncompromising dramatic results. And though he already got the chance to prove his worth as the 36th U.S. president on Broadway, it would be a damn shame if only those in the New York City area got to witness his Tony-winning performance.

While it remains up to debate whether or not Jay Roach’s All the Way, the HBO-produced film adaptation of Robert Schnekken’s award-winning play-in-question, lives up to the monumental standards placed by the Breaking Bad alum’s towering performance, this much is for certain: in a time when the state of U.S. politics has become more flamboyant, irrational and downright outrageous than ever, it’s only appropriate that we now see our first LBJ biopic come into fruition. Roach’s film isn’t necessarily a masterpiece; that much should be said upfront. It’s hammy, lacking real nuance or subtlety, and it grows more sloppy and heavy-handed in its execution as it continues. But in appropriate fashion, it braves up the challenges ahead of itself and fights the good fight away. Though the results might not always ring true, they’re always stirring, absorbing and deeply felt. And, quite frankly, Johnson likely wouldn’t have wanted it any other way.

All the Way thankfully avoids LBJ’s early childhood, uprising in the political system and vice presidential years, and instead opts to tell the story directly from the death of John F. Kennedy. Kennedy is only felt, and never seen, on screen, and Jackie gets the briefest of appearances. There’s a mild sense of mournfulness in the proceedings, but JFK isn’t memorised. Though his presence can initially be felt, this is not his story — and it was never going to be. Because, in many ways, Johnson built a name for himself through making the most of ill-comings, and that’s exactly what he does here. Joined with loving support by his endlessly caring wife, Lady Bird (Melissa Leo), he might not be the elected president, but he accepts the responsibilities anyway, and he’s not going to let his unexpected position go in vein.

He’ll assure himself and the nation-at-large that he earned his spot in the Oval Office, and that’ll come with the Civil Rights bill. What his predecessor started will now become his uphill priority. But this doesn’t sit well with Senator Richard Russell Jr. (Frank Langella), LBJ’s mentor and permanent father figure, nor does this bode well with some other members in the Democratic party. But Hubert Humphrey (Bradley Whitford), the newfound president’s trusted ally and eventual vice president, believes he’s doing the right thing, as does Dr. Martin Luther King Jr. (Anthony Mackie).

This sets up the first half of Roach’s latest historical biopic, with a bouncing focus on LBJ’s eventual November election, the Mississippi civil rights murders, King’s continued social rights uprising and Johnson’s prickly relationship with J Edgar Hoover (Stephen Root) establishing a more scattershot and clumsy second half. Much like Roach’s last film, Trumbo, which also featured Cranston at the forefront in an Oscar-nominated turn, All the Way tends to prefer glossy dramatic recreation over substantial cultural examination and fulfilling character analysis. Roach, in fact, tends to mimic the kind of schmaltzy, melodramatic storytelling that Steven Spielberg has been known for these past few years (which makes sense, considering he’s an executive producer here and all).

Cranston is expectedly outstanding at the centre stage. His performance never fails to mesmerise, and it wields a depth, sense of morality and thoughtful gravitas that was often lost in his fairly cartoony interpretation of Dalton Trumbo. It carries shades of Walter White’s intensity, but it’s mostly a performance unlike any we’ve seen from the celebrated actor (at least, those of us who weren’t lucky enough to see it initially on stage). And the key here is that it’s just that: a full-fledged performance, and in the best way possible. It’s not an impression. He’s not merely mimicking the late former president. Rather, he embodies his outlandish, larger-than-life soul as a man haunted by failure and in search of his rightful legacy.

Cranston’s not afraid to explore Johnson’s insecurities, poor temper and flaws as the rigorously expressive actor he is. And that’s needed greatly. This was, after all, the kind of president who would swear up-and-down the Oval Office hallways, refer to his “bunghole” amongst his staff, take a dump with the door open and drink like a fish. He wasn’t a saint, but Cranston never fails to find the humanity.

While nobody can be expected to match him, that’s not to say that everyone else falls short. Though sadly underused, Leo brings out the beating heart in Cranston’s LBJ, and helps to bring him down to earth just when he might seem to wildly over-the-top for his own good. Similarly, Mackie matches his character’s mannerisms and speech patterns in ways that never feel forced or unbelievable. Like David Oyelowo in Selma — which constantly comes to mind here — Mackie allows King to speak for himself, and brings out the dead-set integrity that never left the reverend’s side with conviction and proper sincerity. Root also stands out, even when Roach and screenwriter Schenkkan, adapting his Tony-winning play, make him out as little more than a moustache-twirling villain. But the true match for Cranston comes from Langella, who provides a beautifully understated performance that’s responsible for some of the film’s most gripping and spellbinding moments.

Russell’s intriguing relationship with the president is never less than fascinating, and it’s a real shame that All The Way couldn’t make this the main focus. Russell’s constant disapproval for Johnson — even when we know that Lyndon is changing history for the better — always provides a dark, unsettling undercut to any-and-all accomplishments. It also gives a resounding sense of conflict and consequences to every aching action and decision, ones that often plagued them with doubt and false hope with every step. It’s among the few times Roach’s film doesn’t feel one-sided and morally just, and when it gets sidetracked more and more, All the Way seems to get worse and worse. But, thankfully, it never leaves completely — which is what continues to make the film sell.

There will likely be a better LBJ biopic that’ll come our way. And it won’t be long until the president returns to the screen, with Rob Reiner’s upcoming LBJ with Woody Harrelson expected later this fall. But in witnessing the skyrocketing of the “Republican South,” as the leader of the free country does only what he feels is right and true, it’s hard to believe there will be any interpretation that come as timely or as appropriately as Roach’s latest. Comparisons between this and the latest season of House of Cards are not hard to find — particularly considering their thick Texan accents, love of allegories and copious on-hand metaphors. Though it’s safe to say LBJ is a far more humble and caring person than Frank Underwood could ever be these days, if not any less determined in his pursuits.

While perhaps a little too sleek and busy to really stick the landing, All the Way is a captivating, compulsive and intimate examination of a character we rarely got to see beyond the forefront. And what it can’t accomplish entirely in 132 minutes, Cranston’s performance cuts the slack, and then some. It’s an extraordinary accomplishment, and not one to be missed. It’s unflinching, deeply charismatic and prone to exaggeration, and that’s exactly it needed to be.

REVIEW OVERVIEW
All The Way
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all-the-way-reviewAll the Way might not become the definitive LBJ biopic, but Bryan Cranston’s towering performances as the 36th president is never less than extraordinary.