There are at least two kinds of detective stories, some which are driven by clues and some which are fueled by the characters. Great writers blend the two seamlessly, but even among Sir Arthur Conan Doyle’s Sherlock Holmes mysteries there is a special appeal to A Study in Scarlet because it is a great pleasure to watch Dr. Watson and Mr. Holmes become acquainted. Of the two vehicles for such stories, the more sure is character, and so all good detectives are either in partnership or at least ensure they have a good sidekick and work in a big office where they are looked upon as a liability.
All the President’s Men begins with a break-in, a burglary which was to create a sensation, at the Watergate Hotel. Soon after we see the botched robbery, we are placed in the offices of the Washington Post and can rest easy, knowing we are watching another investigative reporter flick. When Dustin Hoffman and Robert Redford are chosen by the newspaper magnates to pursue the initial leads, it seems as though we know what sort of detective story we are sitting upon: who would pay to have two such actors if their characters were not going to drive the plot?
Indeed, the investigation stands accused just as suspected. Hoffman plays an old hand, whose loose reporting has him in hot water with the brass—he is the sort of reporter who might balk at typing the word ‘allege’ and all its conjugates. Redford is new to the paper and eager to make his mark and, perhaps, is also interested in discovering the truth. There is friction at first: Hoffman takes what Redford writes and polishes it without permission, and when doubt is thrown on their efforts they accuse each other of making mistakes; but their fusion is quickly accomplished and the paper is, for the most part, willing to stand by their reports. The structure of the film is all wrong if we want to hammer it into a readymade hole.
I do not think it is generally advisable to use the title of a work to argue to its conclusions, As You Like It is not a relativistic play nor is the main character of Ivanhoe the knight of that name, but when ordinary means for understanding a work of art are not forthcoming, a return to the title can give the necessary clue without which we could go astray. All the President’s Men is about… all the president’s men. As Redford and Hoffman go door to door and make numberless phone calls their personalities hold our interest and underpin the story, but the story is not about them, it is about those whom they interview. Much of their time is spent trying to confirm their hunches and leads, but they are baffled everywhere they turn; no one is willing to go on record. The film is about all those who could expose the scandal and about their fear. It is about those men to whom the camera never turns, those powerful men within the Whitehouse entrusted with the president’s campaigning. In a clever shot (or rather, a splicing of shots) at the end of the film the television in the lower left shows Nixon’s swearing in while in the top right Hoffman and Redford type out the story which will sink his presidency; the film is finally about the precarious nature of wrongdoing when greed jumps the fence and runs free of the law.
All the President’s Men is available on Netflix, and on many other platforms for rent and purchase. I definitely recommend you watch it if you have Netflix, are interested in the detective genre, or want to learn more about the events surrounding Watergate. The movie is enjoyable, but perhaps not great.