Some people say 80’s are the twilight of life, but Ridley Scott does not believe anything about it: he has just made the most sincere and peaceful movie ever made by a director in which Christopher Plummer offers the best performance on the screen ever seen, even being an actor that a month before the debut of the film had not signed any contract or knew anything about this film.
These two phenomena show what is All The Money in the World, a fantastically detailed thriller of the kidnapping by the Italian mafia in 1973 of the grandson of the world’s richest man, John Paul Getty.
When all the shit, sorry I meant sexual harassment, about Oscar-winner Kevin Spacey, who played Paul Getty, came out, he was literally eliminated (however we can still see him in a trailer) from the movie and all of its scenes were re-recorded a month before the premiere in the United Kingdom with Plummer in his place, at a cost of £7.5 million, since the set were disassembled, the shooting team was no longer in the locations and the contracts of the other actors and crew had already finished.
The story, happy for all, except for Spacey, ends in a triumph. Plummer proves to be the best of All the Money in the World, taking the role of not only the richest man in the world, but the richest man in the history of the world. Charlie Plummer (no connection with Christopher Plummer), the kidnapped, is absolutely incredible. Inevitably, I can not stop thinking about the scene where the kidnappers, after four months of waiting frustrated, cut the right ear of the young Getty to put pressure on the old Getty, fantastic and handled with caution but with the necessary impact. Michelle Williams, the mother of the boy, offers us a tremendous performance that coincides with the dramatic theatricality of Plummer. All the Money in the World highlights a woman who is continually underestimated by powerful men, such The Post (Steven Spielberg) does. Mark Wahlberg, a CIA agent, also does a terrific job. The great French actor Romain Duris, the nice kidnapper called Cinquanta, has a tough role but he can not do it better of what he does.
The final credits recognize that some freedoms have been taken in the dramatization, but only the specialists will probably deal with them; [spoiler starts] there is a shootout with the kidnappers, the young Getty tries to run away, how they exchange the money for the boy seems strangely illogical and the death of the old Getty happens at the same time of the return of his grandson, which is true. [spoiler ends] Things that are not important, at all.
The locations are excellent, just like all the regular crew behind the scenes of Scott films, including cinematographer Dariusz Wolski, production designer Arthur Max, costumer designer Janty Yates and publisher Claire Simpson. Daniel Pemberton has provided the good soundtrack.