11/12/22, 1:03 PM Review: ‘All the Way’ Finds Meaty Parallels to Modern Politics (And, Yes, Bryan Cranston

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Review: ‘All the Way’ Finds Meaty Parallels to Modern Politics (And,
Yes, Bryan Cranston Kills It)
Review: 'All the Way' Finds Meaty Parallels to Modern Politics (And, Yes, Bryan Cranston Kills It)
Ben Travers
May 20, 2016 2:59 pm
 @BenTTravers

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While comparisons to the Tony Award-winning stage production are sure to dominate much of the
conversation surrounding “All the Way,” Robert Schenkkan’s HBO adaptation of his own play, it’s important
to point out how both he and director Jay Roach have effectively (if not smoothly) transformed the story
from one medium to another. There’s a choppiness to the two-hour-and-12-minute film, with scenes
bursting into one another; abruptly shifting between political battles as Lyndon B. Johnson — played, as
he was on stage, by Bryan Cranston — assumes the presidency, defends it and puts forth an agenda that
could be more of a challenge than even he is prepared to handle. More than that, there’s consistent
location changes, an absence of lengthy or repetitious monologs and diligence to the complex nature of
Johnson’s contradictory desires.

A D V E RT I S E M E N T

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11/12/22, 1:03 PM Review: ‘All the Way’ Finds Meaty Parallels to Modern Politics (And, Yes, Bryan Cranston Kills It) | IndieWire

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That being said, above all else, “All the Way” should be judged on the execution of its thesis
statement: “LBJ is not the second coming. He’s just like every other politician: He’ll do what it
takes to get elected. But I think he really wants civil rights.” Martin Luther King Jr., played with
admirable restraint by Anthony Mackie, says as much while defending his decision to stand
behind the man, and the movie absolutely demystifies America’s 36th president as much as it
chronicles how he was the right person to get the job done. Overlength and underexposure of key
side characters (like Melissa Leo’s Lady Bird Johnson) are made up for mainly by Cranston’s
towering performance, but each sentence of King’s plea outlines not only the motivation for the
movie, but the construction of it. 

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The lengthy first act is largely spent throwing viewers into the complex cultural climate Johnson
found himself in immediately after John F. Kennedy’s assassination. But unlike the tame, non-
committal behind-the-scenes glimpse given in the recent HBO film “Confirmation,” “All the
Way” has history on its side and immediately begins painting Johnson in an unflattering light.
Throughout the film, you hear stories of his womanizing ways and see first-hand how cruelly he
treats his ever-supportive wife, all while he savvily navigates political waters in his ongoing quest
for power and openly sulks when he doesn’t get his way. His attitudes and verbiage are aptly
dated, and Cranston embodies him with a passion that doubles down on his ugly personal life.

READ MORE: Review: ‘Preacher’ Should Surprise — And Please — Believers and Atheists Alike

Yet what Schenkkan’s script and Roach’s direction carefully keep in mind are how these very
same tendencies are matched in action, if not outright enthusiasm, by the moral good within him
that pushed him to fulfill Kennedy’s wishes — and his own — of passing the Civil Rights Act.
Viewers are meant to respond in a similar fashion to the various historical figures surrounding
Johnson, in that they all are somewhat shocked to see a man who’s trying to do such good act in
such a foul manner. (And all the credit in the world to Bradley Whitford and Stephen Root for
their master class in how reactions can tell a story more than actions.) 

A D V E RT I S E M E N T

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11/12/22, 1:03 PM Review: ‘All the Way’ Finds Meaty Parallels to Modern Politics (And, Yes, Bryan Cranston Kills It) | IndieWire

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It’s a jarring experience, for sure, and constructed as such. The judgment of LBJ hangs over “All
the Way” throughout, even as the (rather bloated) second act shifts focus from the dirty business
of passing a controversial bill to the downright disturbing process of winning a presidential
election. The final section serves to clarify Johnson’s priorities and thus the man himself, which
largely helps the film finish strong, but it’s in the nasty fight for the Democratic nomination that
Schenkkan’s adaptation of a play first brought to the stage in 2012 finds relevance today. Some
may be quick to point out the similarities between 2016’s unappealing candidates and Johnson,
but the real topical content is the difference between what each generation’s politicians are
fighting for. 

Parallels between the overt racism of the ’60s and the consequential effects of today are strong,
emotional hooks that dig in hard on their own, but it’s only when you look at who was pushing
past politics then — despite knowing it could kill his political career — and who’s been all-
consumed by his quest for power today — do we really have to say his name? — that “All the
Way” becomes a terrifying reminder of how political machinations have come to control more
than who’s in power, but how much less comes from it. We, the people, saw results in the ’60s,
whereas today less concrete examples of progress are provided. Johnson’s ugly actions may be
exposed, but at least he was fighting for something real.

The political climate strangling good intentions only seems all the more rampant today — even if
the men in power share a complicated personal integrity. In this, “All the Way” should be
admired for going the distance, and Cranston rewarded for holding it all together.

Grade: B+
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THIS ARTICLE IS RELATED TO: Television and tagged All The Way, Bradley Whitford, Bryan Cranston, Frank
Langella, HBO, Jay Roach, Melissa Leo, Reviews, Television, TV Reviews

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