With a tale that almost sounds like it is right out of the movies, All the Money in the World, Ridley Scott’s 2017 buzzing biopic on the Getty abduction of 1973, was hit hard when star Kevin Spacey got wrapped up in the ever-growing series of sexual assault allegations. . . about one month before the film’s release. In comes Scott’s original choice, acting icon Christopher Plummer, who, with the help of a few returning actors, re-shot the entire role in only four short days – thrusting him into the Best Supporting Actor race at this year’s Golden Globes. . . and likely the Academy Awards.
Despite all of the headlines that have pushed people’s attention away from the motion picture itself, it is an engaging piece of cinema. The plot revolves around 16 year old J.P. “Paul” Getty III (Charlie Plummer), the grandson of eccentric billionaire oil baron J. Paul Getty (Christopher Plummer), who is abducted late one night off of the streets of Rome.
Flashing back and forth (as well as from striking colour to stunning black and white a few times), Scott develops an intriguing picture of a wealthy family thrust into the spotlight due to a situation no one would wish upon even their worst enemy. The elder Getty never really gave much thought to his family, focussing solely on driving his business forward.
It is when his son, John Paul Getty Jr. (Andrew Buchan), reaches out to him in desperation, that he finally brings them back into the fold, giving him a major job in his company and seeing the children as the beginning of a Getty dynasty.
A fascinating character study, Plummer develops a multi-faceted onscreen persona, wealthier than almost anyone on the planet, yet frugal (or, as many would simply term it, a cheapskate). It is the thrill of the bargain, the haggle, the goal of collecting by way of getting it for the bottom dollar that excites him. Though there is a current of what one might call love flowing somewhere below the icy surface, there is a semblance that it is more that his family are a means to an end. . . a way for him to ensconce the Getty name as the next dynastic empire to rule the world (hence his fascination with Hadrian’s palace and purchasing the historic ruins from the Italian’s). This vision is emphasized by his surroundings – beautiful antiques, masterful artwork and unique trinkets; he knows he can rely on their never-changing perfection, whereas people have always let him down (his son, the perfect example of the hedonistic flaws that wealth can pass down through the generations, also echoed in the ancient Roman world).
All of this is at odds with our desperate female lead, Gail Harris (Michelle Williams), the abducted Getty’s mother – who pleads with her former father-in-law to pay the hefty ransom. . . though he does not pay anything for the asking price. Sending his main adviser/negotiator to aid with the situation, Fletcher Chase (Mark Wahlberg) is a cunning former CIA operative with a keen sense for such things. Will they be able to convince the haughty billionaire to take the kidnapping seriously and pay the ransom, or will his grandson fall prey to his maniacal game-playing?
Based on real events, Scott formulates a film with an excellent pace, building to a solid conclusion after its two hour, twelve minute runtime. And it is most definitely a Ridley Scott film, with striking visuals and excellent editing, especially when considering the undertaking of removing one of the main players and re-shooting/editing with a new actor. . . and despite that, there is really no hiccup – a miracle in many respects. Even more impressive when considering that the film was salvaged by Scott, now 80, and Plummer, 88.
Laced with touches of dark humour, familial drama and tense thrills, All the Money in the World is a brilliantly acted motion picture that is definitely worth seeing this Awards season. The film is most definitely not a bust, rather, an intriguing depiction of a warped and consumed man blinded by his own world-building (attempting to force his face in amongst the greats in history) rather than the things that really matter.