Being rich is the hard task, becoming rich can just as well be an idiot’s achievement. This is one of the few quotes delivered by Christopher Plummer as J. Paul Getty. Early on in the film we also get a mini lecture from Getty on how unnecessary and incorrect is the word ‘priceless’, as everything has a price.
Ridley Scott’s crime thriller explores the price of the human life, which here is that of the grandson of the world’s richest man at that time. Getty, the grandfather in question has made crystal clear from the beginning that he appreciates art over people, as in art there is the purity of transparency and straight-forwardness, in contrast to people’s duplicitous nature.
Although he fantasises, quite comically, about having lived as a Roman Emperor in a previous life, it’s rather obvious he is the reincarnation of Ebenezer Scrooge, only ten times worse. His inconceivably cruel behaviour towards his daughter in law, Gail (Michelle Williams) and his 16-year old grandson (Charlie Plummer) when kidnapped, is the driving force of a real-life drama that stirs up our conception of love, family, power and greed.
The film’s rhythm fluctuates from quick transitions and fast progressions to a slower, more dramatic tone that better served the dialogues. The simple story is intertwined with the promise of complicated characters and minor twists that keep the viewer interested, despite the film’s general flat and quiet tone.
For instance, young Paul changing hands as a hostage intensifies the thriller atmosphere, Gail’s discovery that her father-in-law has always been a cheap human being that even gave cheap gifts serves as a ungranted relief. Along with the member of the gang that felt for the boy and the doomed escape, these are all examples of what was done right here. The film might not succeed to immerse viewers completely but performances take you where you need to go to enjoy it.
Michelle Williams didn’t bring enough energy to the part at first, seemed almost unfocussed but around the middle, she picked up by communicating the quiet pain and despair of a woman that had to put up with Getty’s obsession for negotiating prices (in this case ransom), his false pretences for not sparing a nickel and the intense pressure from the kidnappers. Indeed, as did a paparazzi in the film, I found myself wondering why she came across so calm and why even her sorrow and agony were moderately demonstrated. However, in a couple of scenes, when she finds out the price of the statue and when she discovers Getty’s bust, she is remarkable and piercing. Might have been part of Williams’s process but unfortunately, it didn’t work for me as it opposed to my innate belief that the situation asked for explosive and loud reactions.
This sort of reaction is found in one particular scene delivered by Mark Wahlberg, here as the professional negotiator Fletcher Chase who was appointed from Getty to deal with the kidnappers’ unreasonable requests. The scene is a beautiful confrontation that results in a shocked and mentally defeated Getty. Worth mentioning here is how great Christopher Plummer was in a part that came to him unexpectedly and had to be executed then and there, without preparation within a month.
Although it might be unfair to judge without having seen the scenes he shot (nor will we ever…), I’m glad we got to see Plummer in a heavy, unapologetic and vicious version of Getty as I’m afraid that Spacey’s performance would have too much of Frank Underwoood in it. Plummer is excellent in his few scenes and manages to find the subtlest ways to demonstrate emotion, with his face assuming the role of the most precious tool.
After the film you might feel more generous and giving, think about your grandparents, start feeling very protective of your ears, and contemplate how subjective are the value and price of our lives to the people around us. You might also, have long conversations about Getty’s psyche in order to explain his complete lack of compassion for a loved one but end up to the disappointing conclusion that accessing the source of cruelty will only provide evidence of how prone we are to it.