"The Washington Post" reporters Bob Woodward and Carl Bernstein uncover the details of the Watergate scandal that leads to President Richard Nixon's resignation."The Washington Post" reporters Bob Woodward and Carl Bernstein uncover the details of the Watergate scandal that leads to President Richard Nixon's resignation."The Washington Post" reporters Bob Woodward and Carl Bernstein uncover the details of the Watergate scandal that leads to President Richard Nixon's resignation.
- Won 4 Oscars
- 17 wins & 23 nominations total
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Did you know
- TriviaFrank Wills: As himself. Wills was the security guard at the Watergate complex who discovered the masking tape on the door and notified the police, just as he does in this movie. He had been fired from his Watergate job a few days after the break-in, although no reason was given for this. The one day he spent (in 1975) playing himself in this movie was his first day's work since his dismissal from Watergate.
- GoofsIn a 2007 web discussion on Watergate, reporter Bob Woodward gave the following answer when asked for the biggest factual error in this movie: "The movie is an incredibly accurate portrait of what happened. To limit the number of characters, the city editor, Barry Sussman, was merged into another character. That is regretable, and something Carl Bernstein and I should have fought, because Sussman played a critical role in guiding and directing our reporting."
- Quotes
Howard Simons: Did you call the White House press office?
Bob Woodward: I went over there; I talked to them. They said Hunt hadn't worked there for three months. Then a PR guy said this weird thing to me. He said, "I am convinced that neither Mr. Colson nor anyone else at the White House had any knowledge of, or participation in, this deplorable incident at the Democratic National Committee."
Howard Simons: Isn't that what you expect them to say?
Bob Woodward: Absolutely.
Howard Simons: So?
Bob Woodward: I never asked about Watergate. I simply asked what were Hunt's duties at the White House. They volunteered he was innocent when nobody asked if he was guilty.
Howard Simons: Be careful how you write it.
- Crazy creditsThe opening Warner Bros. Zooming \\' logo is in black and white.
- Alternate versionsGerman theatrical version was cut by. ca 7,5 minutes (ie. a conversation between Rosenfeld and Simons, Woodward asking a woman about Hunt, Woodward and Bernstein being dismissed by Mrs. Hambling, Woodward on the way to a meeting with Deep Throat). DVD release is uncut.
- ConnectionsEdited into La classe américaine (1993)
This dramatization of how it was discovered that the burglary of the Democratic Party headquarters at the Watergate Hotel in Washington, D. C. was funded and directed by the Nixon White House is a lot better than it has any right to be. Given the tedious, non-glamorous and frankly boring leg- and phone-work that is often the lot of the investigative reporter, it is surprising that this is a very interesting movie even if you don't care two beans about the Watergate scandal. In fact, this is really more about how the story was put together than it is about the scandal itself. It is also a lot less political than might be expected.
It stars Robert Redford and Dustin Hoffman as Washington Post reporters, Bob Woodward and Carl Bernstein, and they are good, with excellent support from Jason Robards (Oscar as Best Supporting Actor) playing Post Executive Editor Ben Bradlee, and Jane Alexander as an innocent caught up in the machinations. But what makes the movie work is the Oscar-winning script adapted from the Woodward and Bernstein best seller by that old Hollywood pro, William Goldman (Butch Cassidy and the Sundance Kid 1969, Misery 1990, etc.). What he does so very well, even though we know the outcome, is to establish and maintain the tension as Woodward and Bernstein run all over town chasing leads and misdirections. He accomplishes this by putting just enough varied obstacles in the path of our intrepid reporters, notably the Washington bureaucracy and the understandably cautious senior editors at the Post.
The direction by Alan J. Pakula (Comes a Horseman 1978, Sophie's Choice 1982, etc.) focuses the scenes nicely, keeps the camera where it belongs, and highlights the story with a shadowy Deep Throat (Hal Holbrook), skitterish sources, and a vivid recreation of a top American newspaper at work. I was especially enthralled to see the interactions among the reporters, the editors and the sources. I thought they all looked and sounded authentic, Redford's good looks having nothing to do with the story, which was right, and Hoffman's flair for the intense reigned in, which was necessary. The diffidence of Alexander's character and the soft pushiness of Woodward and Bernstein were tempered just right. Bradlee's stewardship of the story and his ability to take a calculated risk seemed true to life.
Some details that stood out: Redford's hunt and peck typing contrasted with Hoffman's all fingers flying; the talking heads on the strategically placed TVs, reacting (via actual video footage) to the developing story--deny, deny, deny! of course. The thin reporter's spiral notebooks being pulled out and then later flipped through to find a quote. The bright lights of the newsroom looking expansive with all those desks as though there were mirrors on the walls extending an illusion. The seemingly silly tricks to get a source to confirm: just nod your head; I'll count to ten and if you're still on the line... And you know what I liked best? No annoying subplot!
The rather abrupt resolution with the teletype banging out the leads to a sequence of stories that led to President Nixon's resignation had just the right feel to it, especially for those of us who have actually experienced the goosepimply sensation that comes with watching a breaking story come in over the teletype. The quick wrap-up surprised me, but delighted me at the same time.
Bottom line: an excellent movie that wears well, a fine example of some of Hollywood's top professionals at work some thirty years ago. #30
- DennisLittrell
- Sep 29, 2003
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- Todos los hombres del presidente
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- Budget
- $8,500,000 (estimated)
- Gross US & Canada
- $70,600,000
- Gross worldwide
- $70,601,199