The Man (1972) User Reviews

I Wonder if Obama Watched This

[view_and_review · 8/10 · 7 December 2019]

I think I can breathe now. The political and racial tension was so thick you could cut it with a knife. But this wasn't a sledgehammer movie beating us over the head with a political or racial message, it was very intelligently done.

When the POTUS, the Speaker of the House, and others are killed in a very unfortunate accident, and the VP declines being sworn in due to his health, the next in line for the presidency became Senator Douglas Dilman (James Earl Jones). The initial thought was that the Secretary of State would be the next in line, but due to the Succession Act of 1947 the hierarchy was the President, Vice President, Speaker of the House, then President Pro Tempore of the Senate. This thrust a Black man into the presidency for the first time in U.S. history.

Naturally, the implications, expectations, and non-expectations were tremendous. This movie could've gone in almost any direction and that's what we were waiting for as viewers: to see what direction it would go.

The plot thickened as did the agendas once Dilman was sworn in. I think we only got a small taste of both the positive and negative expectations placed upon Dilman by Blacks and Whites. The movie settled in on one hot button issue surrounding the apartheid country of South Africa. It was an intricate hot mess President Dilman had to deal with. He was in a most unenviable position and I think the film (and Jones) conveyed that well.

This was a bold and brave movie for 1972. The dialogue was excellent as was the script. I only wonder if Obama ever watched this?

Starvation

[inspectors71 · 6/10 · 1 March 2016]

Not just another cheap, throwaway ABC Movie of the Week, Joseph Sargent's The Man, written for the screen by Rod Serling and based on an Irving Wallace novel, this movie has the potential to be a very good political thriller. The performances are from journeyman to excellent, the dialogue, at times, crackles, and the story is a mixture of the catastrophic and the mundane (the death of the president and speaker of the house being the former and the pervasive racial dismissiveness directed toward James Earl Jones' president pro tempore-to-president is the latter).

Yet.

It's obvious ABC got a higher quality product than they wanted. The Movie of the Week series cranked out one piece of clichéd garbage after another during its 1969-1976 run, and the occasional brilliance (That Certain Summer, Katherine, Duel come to mind) would catch everyone by surprise.

What do you do with something good, when you're regularly paying for crap?

Sheesh, people might begin to expect quality.

So, ABC puts The Man into limited release. The movie looks like a TV flick because it's on a MOTW budget. Probably made $37.26 nationwide. That'll teach 'em to make something good!

But.

I'd put The Man in the box set of post-Twilight Zone Rod Serling work along with the white-knuckled Seven Days in May, the original Planet of the Apes, and some of the better episodes of The Night Gallery. Serling was a great writer, but the trouble with The Man is that it's so starved for time and funds, so shoestrung by lowest common denominatorism from the network, that the movie never gels.

That's catastrophic for the viewer and mundane for the world of networkthink.

Jones, Serling, and "The Man"

[timdalton007 · 7/10 · 11 March 2022]

From presenting past presidents on the screen to imaging fictional ones dealing with crises ranging from wars to alien invasions, The American presidency and film have often come together throughout the medium's history. They've offered windows into corridors of power and reflected moments in America's history through fiction. Something which makes the 1972 film The Man an intriguing viewing experience, presenting a vision of something that would only come to pass more than thirty years later: the country's first African-American commander in chief.

That president, the titular "man" of the film's title to use the slang of the time, is James Earl Jones' Douglass Dilman. Jones is the film's heart, taking viewers with him on a journey that begins with a fateful phone call that launches the film's main title sequence. One that sees this mild-mannered, often quiet former college professor turned senator into the world's most powerful political office. Watching Jones deal with the aftermath, finding his feet as others try to pull his strings like a puppet or bring him down, is something akin to a masterclass. In every scene, Jones brings the right note to play, from a man out of his depth to Dilman putting morality ahead of political expediency later on. If there's anything that makes The Man worth seeing, even decades later, it's Jones' performance.

It helps that Jones has a solid supporting cast backing him. On the political side of things is Martin Balsam as the White House chief of staff who stays on to help him, Burgess Meredith as a powerful but racist senator, and William Windom as the would-be kingmaker Secretary of State with Barbara Rush as his ambitious wife. Closer to home is Janet MacLachlan as Dilman's activist daughter who butts heads with her father and Georg Stanford Brown as Robert Wheeler, a young activist accused of a crime that puts him at the heart of a diplomatic incident. Their interactions with Jones as Dilman bring out some wonderful moments in his performance, as well as giving each of them some solid material to play with on their own, especially in regards to Meredith and Windom trying to keep the upper hand.

It's as a production that the film is at its most mixed. Joseph Sargent's direction has an assurance throughout, including a surprisingly mobile given The Man was made in the pre-Steadicam. Indeed, there are times when the shots in White House corridors offer pre-echoes of The West Wing's famed "walk and talks" nearly thirty years early. Jerry Goldsmith also hands in a sparse but immensely effective score, built around the main title theme that captures the promise and pomp of the presidency, as well as the poignant loneliness of the office. Yet for all of that, the fact that The Man was a made for TV movie given a cinematic release is abundantly clear throughout, with even the White House sets lacking a feature film's sense of being fully decorated, or how protest scenes are shot really close-up by and large, and especially in the film's final sequence which betrays the budget despite Sargent's direction. None of which is fatal, but it does take the film down a star or two.

If Jones as Dilman is the heart, then the script from Rod Serling is the soul. Serling, the legendary creator of the Twilight Zone and who had previously adapted Seven Days in May for the screen, had the unenviable task of reducing a sprawling nearly 800 page novel by Irving Wallace into a 90-minute script. Given the passage of time between the novel's publication and when the film's production, and knowing it was an eternity in political time, it isn't difficult to imagine that Serling didn't make us of a good deal of the novel's content. What's left here is a compelling narrative centered on the obvious questions of race in America immediately after the Civil Rights era and how that would affect relations with apartheid South Africa. Serling's script does its best to not sugar coat things, which sees some racial epithets used that would be no-goes today, and that itself is something that dates the film. Yet, like much of Serling's scriptwriting, there's also a timely quality to it for the same reason as the questions it asks about race and politics, and how an African-American president would deal with matters of race, have resonance even in the post-Obama world.

The Man was to prove prophetic in other ways. Dilman is thrust into the Oval Office by an unlikely series of events, making him a president that is an accidental and unelected one. With a couple of years of the film's release, Gerald Ford, a congressman appointed vice-president by Richard Nixon and confirmed by Congress, would assume the presidency without ever having been elected thanks to the Watergate scandal. Ford's presidency would, like Dillman's, prove to have its own series of ups and downs until Ford would, after a bitter campaign for his party's nomination, lose the 1976 presidential election.

Perhaps proving that fact is stranger than fiction.

Presidential Succession and Bigotry

[sonny_1963 · 3 June 2005]

The President of the US is killed. So is the Speaker of the House. The Vice President is ill and cannot accept the presidency.

Enter US Senator Douglass Dillman, who is president pro tempe of the senate. He is also black. He accepts the presidency to the discontent of many cabinet officials, especially the secretary of state. He would be president if not for Dillman.

Racial feelings are revealed among several politicians as Dillman sits in the oval office, determined to overcome the bigotry of those around him and to be as good a president as he can be.

An early vehicle for James Earl Jones, who as Dillman, is brilliant. Excellent performances by the supporting cast. Hopefully, this film will one day be on DVD or VHS. It's also a good potential historical lesson to be absorbed by Americans if this situation should ever happen.

Interesting Movie - But It Could Have Been Better

[sddavis63 · 7/10 · 27 January 2024]

It's very interesting to compare this movie to the original novel (published a few years earlier) written by Irving Wallace. Wallace's novel was very good but also very long - almost ponderous at times, in fact - offering a much more thorough and very detailed account of Douglass Dilman's experiences as an "accidental" black president at a time when racism was not only alive and well but still very much openly promoted by many politicians in the USA. Wallace's novel revolves to a great extent around Dillman navigating relations with the Soviet Union over an issue in Africa and then defending himself against an impeachment trial pushed by an extremely racist Congressman.

The movie (adapted from the novel by Rod Serling) is quite a contrast. It moves very quickly, almost at a frenetic pace at times. A happy medium between the two might have made for a better movie. The movie is less explicitly racist (especially in its language) and there's no effort at impeachment in this hearing. Instead, the movie's resident racist legislator (played by Burgess Meredith and in the movie a senator) takes the position that Dilman should essentially be left to hang himself politically by being allowed to fuinction as president (which he assumes will happen because he figures Dilman, as a black man, isn't competent enough to be president.) The primary issue here isn't relations with the Soviets but rather relations with apartheid-era South Africa over their requested extradition of a black man accused of an attempted assassination in that country. (Whether in the book or the movie, having the main policy challenge for the first black president focussed on Africa seemed a bit too convenient for pushing forward the racist commentary.) The book leaves it ambiguous whether Dilman will seek the office in his own right in the next election; the movie has him actively seeking his party's nomination.

They both work in their own ways. They're both an interesting reflection on racism in America at the time. The movie has decent performances from its leads - James Earl Jones as Dilman, William Windom as Secretary of State Eaton and Martin Balsam as Chief of Staff Talley, along with the aforementioned Meredith. I would have liked to have seen Windom made better use of. He's an extremely good actor but Serling didn't really develop the tension (and rivalry) between Eaton and Dilman particularly well. (Racism aside the movie also serves as an interesting reflection on a president assuming office who had been elected as neither president nor vice president - which Gerald Ford would do a few years later.)

I thought the most powerful and meaningful scenes were the scenes of Dilman's early presidency, when important discussions are happening in the Oval Office and the Cabinet Room around him, but in which his presence is barely even acknowledged by those present. Jones did a very good job of portraying Dilman's frustration with the dismissiveness Dilman was being treated with.

I liked the novel (although it's a long time since I read it) and I also liked this movie (although I haven't seen it for many years until I happened by accident to find it on You Tube this morning.) I do think it could have been better. Apparently Jones himself expressed some misgivings about it, particularly over the limited budget it had (which does give it a kind of lacklustre feel) and felt it could have been stronger. Still, given the times in which it was made it was a fairly courageous move on the part of ABC, who made it at a time when networks were still very squeamish about tackling controversial social issues and who, interestingly, apparently released it in the theatres instead of on television, although it did end up as a movie of the week on the network. (That's the version I saw on You Tube but I have no idea how long after it was released in the theatre it took to be broadcast on the network.)

James Earl Jones made a fine impression as the President of the United States in The Man

[tavm · 7/10 · 19 February 2018]

Since today is Presidents Day, I've devoted the past several hours to reviewing past presidential movie bios: Wilson, Give 'em Hell, Harry!, and The Final Days about Woodrow Wilson, Harry Truman, and Richard Nixon, respectively. Now I'm reviewing one about Douglas Dillman. Who? Well, he's actually a fictional one from a novel by Irving Wallace. Rod Serling eventually adapted it into a TV movie starring James Earl Jones playing Dillman who's depicted here as the first African-American president some 36 years before Barack Obama. He becomes president-previously Senate President Pro Tempore-after the previous president's, not to mention Speaker of the House's, deaths and after the vice president refuses his inauguration for health reasons. He is challenged by Burgess Meredith's racist senator, and by a case involving the assassination of a South African defense minister allegedly by an African-American activist (Georg Stanford Brown). He also has a daughter (Janet MacLachlan) who's very much a "Black Power" activist. In fact, one of her best scenes is her dialogue with a cabinet member's wife (Barbara Rush) on societal graces during an otherwise innocuous cabinet dinner meeting. There's much to admire here though since this was a made-for-TV movie, it only goes so far in discussing certain issues. Still, this was quite a compelling movie about the responsibilities of the presidency. So that's a recommendation of The Man. P.S. I'm guessing this was Jack Benny's last film appearance which was quite amusing especially when he got one more crack about his flop movie The Horn Blows at Midnight!

Reality matches the movies...

[calvinoyler · 7/10 · 28 June 2009]

I have read the comments of the academic from 2004. Now is the age of Obama and it looks like "The Man" missed the mark. It seems that everyone in the media and democrat party is trying to save this president and in turn; disrespect the constitution of this country. James Earl Jones is, and always has been, a terrific actor. In this movie he is backed up by some of the best of the supporting actor universe. As you can see from the previous comment, this is more than about just a movie. The question should be asked does the race of the President require that no criticism be cast on his (or her)actions,that no honest and fair debate be held, or that all policies be acquiesced to just because of race. This movie is optimistic in that a good, qualified man found himself in the seat of power by accident.He was worthy of that power and had to fight the good fight. He did not travel the globe apologizing for his country or displaying the trappings of power for the sake of self aggrandizement. James Earl Jones was an American, raised as American with American values. I wish reality could be the same.

Please get the story straight

[ricboyd2 · 9/10 · 27 October 2001]

The premise of this film is about a man appointed to be President under unusual circumstance. The current President and Speaker of the House tour a building in Europe, which colapses and kills them both, the vice-president is ill and can't fullfill the office.

The Presidency falls to a surprizing fourth in line.

It's a great story and I don't understand why it isn't on video yet.

The only small flaw is that it is time dated with the premise of Apartied in South Africa. Everyone write to the studio and get them to put it out on video. It has appeared on TV but they cut it to ribbons and destroy the continuity. -ARBY

TV MOVIE?--I don't think so....

[lakestanleysound · 10/10 · 19 August 2005]

This was indeed an excellent movie, but I remember seeing it on the big screen, I am quite sure it is not a "TV movie" as several others have said here. I am sure many know it only from the TV broadcasts, as its theatrical distribution was probably not widespread. Take a look at the movie poster on this page (have you seen that many movie posters for TV movies??!!), and make your own judgment. Jones is indeed superb, and though the premise is somewhat far-fetched, it is not important, because the drama remains. An important period piece of its time. I remember the performances and the cinematography to have been excellent also. PLEASE get this out on DVD ASAP! Great flick!

Rare Treat

[preachingprince · 9/10 · 20 April 2006]

Although dated this is an excellent movie with Jones as commanding as usual. One of the most intriguing phenomena to watch is how his character grows into the bold and confident president one would expect of one who has tasted the power of the office. The ubiquitous theme of racism is dealt with adroitly. Moreover the Rod Serling screenplay makes one wish the old master would have left a greater body of work along these lines. The Movie is however much different from the book but this was for me a very enjoyable find, especially after a near 30 year search. I recently got a fair copy from videogrill on Ebay. As of this date 4-20-6 there is another copy being offer through the same online group.

Irving Wallace's - THE MAN

[PRHill100 · 5/10 · 27 March 2006]

I was interested in reading the comments on the message boards at the base of the IMDb listing for THE MAN.

This is only one of several novels written by Irving Wallace that has been transferred to "the big screen." Irving Wallace did NOT like the treatment that THE MAN received in the translation from his written words to the screen. In that I agree.

I have read ALL of his books and found each one to be a "page turner" regardless of how many times I have read them over the years. He was a superb writer and I'm only one of a legion of his fans.

I was very disappointed in the screen adaption of THE MAN. The novel was approximately 800 pages in length and the screen version covered about the first 150 pages. The other 650 pages were lost to Rod Serling's abilities. Very unusual for Serling and I find it very disappointing to say the least.

I agree, this movie should be released on DVD. It's an excellent movie even taking into consideration the "adaption" to the screen. I also happen to be a great fan of James Earl Jones and for that reason alone I think it should be released.

As a side point, every novel written by Wallace had been opted for screen or mini-series treatment. Unfortunately, he died in 1990 and I do recall him saying that as a result of ABC's treatment of THE MAN he would not allow any of his novels to be made into motion pictures unless he was in control of the process. He died - unfortunately. I was so looking forward to the CBS mini-series on his novel THE MIRACLE! If you can find any of his books I highly recommend that you buy and read them. Every one of them was a "page turner" and you won't be disappointed.

A Profound Film with a Profound Message

[celestr · 12 July 2004]

As an African-American educator, I found this movie to be an extraordinary one. I hope to find a copy to show to my students who will participate in this year's Multicultural Career Institute, which is in its 13th year on our university campus. Situated in the Midwest, only 10 percent of the university's 22,000 students are students of color. The majority of the students come from small to large farming communities where few, and far too often, no persons of color live. One of the biggest fears that white America has always harbored is the insane notion that 1) only whites can lead this country and 2) if a person of color is elected to a high-ranking position, then white America will find itself the recipient of vengeance and payback for slavery, racism, etc. This film disputes these notions and allows the viewer to understand America in its truest form.

West Wing of the '70s

[Zongo · 9/10 · 18 April 2002]

Possible light spoilers, but nothing specific. Yes, you too can see Darth Vader running the white house! "The force is strong in this one!" Really, I'm a big fan of the "West Wing" and this movie brings forth the same feeling of the hair on the back of my neck going up. Mr. Jones does a fantastic job of being uncomfortable with his new role as the first African-American president of the United States. In the opening scenes we find out that the President and Speaker of the house have both been killed, and the Vice President has been an invalid for awhile, so the next person in line is James Earl Jones' character - he believes that he has been given his position as a token gesture. He can't believe that anyone would want him as a President. Some hate him some think he is an "Uncle Tom." The movie follows his slow morph into a charismatic leader that wants to run for president. All the supporting players do a great job, I would buy this on DVD if it was available. If you like "An American President," or "West Wing" then I guarantee you will enjoy this film. It goes a little slow in the middle, but really picks up steam in the end. A great political film. Unfortunately, the color of the Whitehouse 30 years later is still...well mostly white.

I'd vote for him!

[CatTales · 10/10 · 30 January 2002]

The President and Sec. of State are killed when a building collapses, and the Vice President had had a stroke a month earlier, so the Oval office falls to a token black staffmember (played by James Earl Jones). This coincidence seems even more plausible today considering recent terrorism and the health of current Vice President Cheney. Serling's unsentimental script (based on Irving Wallace's book) includes intrigue and plot twists, and the amazing confluence of recognizable character actors under effective direction transcend the usual TV movie standards, making this one of the better TV movies I've ever seen. Put another way, the film doesn't feel dated at all, except for todays increased racial visibility in political offices. The film is also a mirror image of Serling's "Seven days in May," and represents the only way a good guy (a true Washington outsider) could get catapulted to power (except for the Prisoner of Zenda-esque comedy "Dave").

Ironically, while it was probably a sensation to see the portrayal of a black president in the 1970's, today's audiences aren't surprised to see James Earl Jones in the CIA/White House in the Tom Clancy movies.

Excellent work by Serling - whose dialogue was always SUPERB

[scion777-554-857756 · 9/10 · 28 April 2019]

Additionally, the majority of the ABC Movies of the Week were good - many excellent. "Cheap garbage" to the uneducated, perhaps.

This was originally intended as a TV movie - however, sponsors were nervous - this was 1972 - and the quality was good enough for the big screen.

SO - in conclusion: 1) Serling was always masterful with dialogue 2) ABC Movies of the Week were generally fine 3) the cast and the director and the screenplay should give everyone a very good indication of the quality of this film.

The Man plays safe

[pubguy47 · 5/10 · 17 August 2008]

After the President and the Speaker of the House are killed in a building collapse in Germany, and the Vice President is too ill to fulfill the duties, the position falls into the lap of the seemingly ineffectual Douglas Dillman (James Earl Jones), president pro tempore of the Senate (and who's own party affiliation is never mentioned).

Almost immediately there are problems with The Man. The death of the President is treated as more of an inconvenience than a major tragedy, at least within the confines of the White House. And the bizarre reason, the collapse of building, is brushed off with "well those old palaces..." And perhaps because of the budget limitations (it was intended as a made-for-television movie of the week) we never really get outside the White House, and thus are never given any indication of what Dillman's appointed position means to the rest of the world.

I suppose the cabinet members, staff, and other members of the senate could be seen as a microcosm of the American people (the sympathetic one, the bigoted senator, the callous D.C. hostess, Dillman's own activist daughter) but they don't come close to reflecting the political implications, race relations, ambitions, fears, courage, or impact of such an historical event.

The film's central conflict comes when a young black man is arrested for assassinating a white racist dictator in South Africa, and those in Dillman's closed circle wonder if the President's judgment for extradition of the accused will be influenced by a deep-rooted empathy for a black man's rage. Keeping in mind his own proud daughter's fierce activism, Dillman's choice, regardless of what it will be, will certainly cause alienation in someone, publicly and privately.

Never having read Irving Wallace's nearly 800-page whopper of a bestseller (written in 1963), one can only imagine what Rod Serling cut to fit it into this very brief film, or what Otto Preminger might have done with such potentially explosive material. Although The Man seems skittish when it comes to controversy (odd, because Serling often courted it), it's worth seeing if only because of its timely subject matter and Jones's stately, if overly controlled, performance.

After it ends with a bit of a whimper, you just wish it had taken more risks with the material--the kind of material that could suit a remake.

Very Well Made TV-Movie

[Eric-62-2 · 10 May 2004]

First off, the last reviewer doesn't know what he's talking about when he says the Constitutional fluke that makes James Earl Jones president is "fictional." It is indeed true that when the President, Vice-President and Speaker Of The House are all dead and/or incapacitated the President Pro Tempore of the Senate becomes President. The only stretch is that the job usually goes to the most senior member of the majority Party of the Senate, and not to someone as young as Jones' senator is.

Also, there is no assassination plot against the President in the movie.

As for the movie itself, despite the fact that it is penned by Rod Serling (from Irving Wallace's novel), it is remarkably less free of the kind of pretentious liberalism that marred his script for "Seven Days In May." In fact, what is remarkable for the film is how it falls much closer to the center of the spectrum politically in comparison to what Hollywood churns out today like "West Wing".

Jerry Goldsmith's score is the best work he ever did for a TV-movie and hopefully some day it will find its way to CD as many other obscure TV scores of his have.

Great premise, but 1970s message

[HotToastyRag · 5/10 · 17 September 2022]

The Man has a really fascinating premise, and if you rent it, you'll have to place yourself back in time to 1972. The Civil Rights Act had only recently been passed, and the idea of an African-American president was hardly popular or realistic. But, in this movie, James Earl Jones plays the cabinet member who gets locked in the proverbial bunker should anything happen to the executive branch. Something does, and to the shock of Washington politicians and rest of the country, the Constitution dictates that Jones take the oath of office. Many are frustrated and believe he can just be a figurehead while they run things behind the scenes, like Burgess Meredith, William Windom, Lew Ayres, and Martin Balsam. Barbara Rush's character is terribly villainous. She insults her husband for not fighting for the presidency (even though he couldn't have beaten out the Constitution), and he comes back with, "It's a pity you weren't born a man. You would very likely be President." Barbara gets the last word in: "That apparently is a misfortune we both share." I loved how tired the White House staff looked at the start of the film. I really believed they'd stayed up all night talking about policy and impossible plans. I didn't love Janet McLachlan, who played the First Daughter, and her attitude problem. I didn't believe for a second that her father had become President of the United States. She was just another young adult from the 1970s who like to protest and support social causes. There was no reverence, support, or respect for her father; and she didn't give a moment's pause before embarrassing him at an important function by arguing with Barbara. Barbara was already embarrassing herself; had Janet responded with classy indifference, it would have been much more powerful.

The first half hour of this movie is fascinating, but it derails into a 1970s message statement about race which probably felt appropriate at the time. As an avid fan of political films when they're realistic, I would have liked to see more Advise & Consent in the screenplay, to see the transition of power and the battle between the President and his staff. You can't have everything, though; if the premise appeals to you, you can give it a try.

Good intentions, weak results

[F Gwynplaine MacIntyre · 27 May 2002]

"The Man" is dominated by a screenplay written by Rod Serling in his oh-so-earnest mode. The movie benefits from Serling's sincere convictions towards racial progress, but the film is undercut by Serling's tin ear for dialogue.

In the opening scene, a White House breakfast is in progress even though the President and the Speaker of the House are visiting a mediaeval cathedral in Europe. Suddenly news arrives that the cathedral has collapsed: the President and the Speaker are dead. White House aides inform Vice President Calvin (a good performance by Lew Ayres) that he's now the chief executive. But Calvin is old and frail, and he refuses the job. I found this contrived: if the Vice President isn't medically fit to replace the President at an instant's notice, then he isn't fit to be Vice President and shouldn't hold the office.

By an obscure but apparently genuine constitutional fluke, the Presidential succession devolves to an obscure senator named Douglass Dilman (James Earl Jones) who happens to be Negro. Yes, a black man is now President!

"The Man" raises some interesting issues. Jones gives an intelligent and dignified performance as the black President who refuses to see his job promotion as proof of racial progress. He knows he wasn't *elected* to the job, and he doesn't believe that America will elect a black President any time soon. (This was 1972.)

William Windom, who usually played sympathetic roles, gives an excellent performance as a bigoted white politician who covets the Presidency. (The posters for this movie depicted Windom speaking a racial epithet.) Charles Lampkin is excellent in a small role as a black Congressman. And, of course, now that a black man is in the Oval Office, there's a plot to assassinate him...

For some reason, comedian Jack Benny gets very large billing for a very brief scene in "The Man". He appears only in the opening teaser sequence: when the opening credits roll with Benny's name on the screen, we've already seen his entire performance and he won't show up again! Playing himself, Jack Benny performs a comedy monologue during the White House breakfast. But Benny's legendary timing is off, and he doesn't bother to conceal that he's reading his jokes off a legal pad. I'm a Jack Benny fan, but he disgraces himself here.

There are some good scenes in "The Man" but there's a lot of sermonising too, and very little action. I recommend this film with reservations, and I'll give it 5 points out of 10. I sincerely believe that the U.S.A. will eventually elect a black President ... but, sad to say, I also believe that the first African-American President will almost certainly be assassinated. I hope I'm wrong.

Are you tired of only wondering about this?.....

[purrboxmmauctions · 19 August 2006]

.....then by all means let me know directly at the above e-mail address so that I may arrange for a copy for you. An outstanding undiscovered classic originally made for TV, but whose controversial content resulted in a theatrical release at the 11th hour. James Earl Jones has never been better, nor has Rod Serling's writing, proving he was just as much a genius working outside of the fantasy milieu (as though he hadn't already demonstrated that with "Requiem for a Heavyweight," etc.). Burgess Meredith excels as a white supremacist trying to stymie the new prez at every turn, and Janet MacLachlan is very good as the concerned daughter whose natural opposition to the Oval Office has her torn over her dad's new presence there.

What would Obama Do?

[dslcobra · 6 November 2010]

For some reason - reasons I could probably imagine - "The Man" seems to have been buried and covered up as if it never existed. I'd heard about this movie but rarely saw anyone talk about it, never saw it released on DVD or VHS and never saw it on TV despite the fact Obama won the presidency in 2008 and the film has relevance in his regard.

"THE MAN" is a TV show based on a novel of the same name written by Irving Wallace. The film, made in the early 70's, hypothesizes the racism and conspiracy that might possibly result from a clash between a Black man inevitably becoming President of the USA, and White Supremacism attempting to derail him.

Since, back then, writers probably didn't believe it was likely a Black president would be elected by majority vote, the premise involves a Black man becoming president through succession. The President and the Speaker of the House are killed in a building collapse in Germany, and the Vice President is too ill to fulfill the duties, the position falls into the lap of the seemingly ineffectual Douglas Dillman (James Earl Jones), president pro tempore of the Senate (and who's own party affiliation is never mentioned).

Dillman finds himself at first, having to find his voice and having to rise above the Whites in the cabinet who attempt to undermine him and talk over his head attempting to be "powers behind the throne".

In finding his own voice, the Whites surrounding him begin to fear him and seek to ensure he doesn't get too serious about his position and seek a real re-election.

Next, he finds himself in a clash between Black activists such as his own daughter (Janet MacLachlan) and the scrutiny of society when he must resist extraditing a Black American who attempted to assassinate a Apartheid South African White official.

This is where I will end my explanation because I don't want to give spoilers.

I find it so ironic that every pre-Obama film about a Black POTUS has so accurately depicted the racial discourse that would follow. This film takes place during apartheid and Black militant civil rights activism (not many years after the Assassinations of both Malcolm and MLK) but, the exact same issues are being dealt with today which is why Obama attempts to steer clear of issues such as the "Gates Arrest", "Rev Wright's church" and other so called "black issues".

Not to mention that less than 8 minutes into the movie one of the displeased White officials mentions "I know 6 states that will probably attempt to secede from the union over this man's appointment".

Even in Chris Rock's comedy "Head of State", it wasn't an hour before he's linked to The Nation of Islam.

Apparently, with all of these Black POTUS, its impossible for a Black man to be president without being impartial or linked to some radical faction.

Fortunately for Dillman, he didn't have to deal with the 244/7 news beast or the non existent Internet allowing false information and fear about his presidency to be easily propagated.

THE MAN is an interesting film and Jones does a standup job as always of being a dynamic actor. I'm glad I got a copy of the film and I'm going to copy it for friends who've never seen it. (and probably won't since the media is bottling it up)