Wilson (1944) Review: The Good, The Bad & How to Watch

 

Wilson (1944) Review: The Good, The Bad & How to Watch 

American Film, Drama, Biography, Political

Golden Globes, 1945- Winner: Best Actor
Academy Awards, 1945- 5 wins including: Best Writing, Original Screenplay, 5 nominations including: Best Effects, Special Effects
National Board of Review: Winner: Top Ten Films 

In the heat of World War II, 20th Century Fox embarked on what was then the most expensive film project in Hollywood history. The result was Wilson, a sprawling, vibrantly colored biographical drama centered on the life of Thomas Woodrow Wilson, the 28th President of the United States. While the film was intended to be a monumental tribute to internationalism and the precursor to the United Nations, it remains one of the most fascinating "expensive failures" of the golden age of cinema. More on Wikipedia or Mubi 

The Forgotten Technicolor Epic: Why 1944’s Wilson Deserves a Rewatch 

Directed by Henry King and produced by Darryl F. Zanuck, the film follows Wilson’s rapid ascent from the president of Princeton University to the Governor of New Jersey, and ultimately to the White House. Alexander Knox delivers a career-defining performance as Wilson, portraying him not as a stiff academic, but as a man of deep convictions and tragic idealism. The narrative focuses heavily on his struggle to maintain American neutrality during World War I and his heartbreaking, failed crusade to convince the U.S. Senate to join the League of Nations.

Visually, the film is a masterclass in mid-century production design. Shot in lush Technicolor, it captures the grandeur of the early 20th century with meticulous detail. From the crowded floors of the Democratic National Convention to the somber, quiet moments within the Oval Office, the cinematography provides a sense of scale that few films of that era could match. The production spared no expense, recreating historic locations with a level of accuracy that earned the film five Academy Awards, including Best Color Art Direction and Best Cinematography.

However, the legacy of the film is complicated by the era in which it was released. Zanuck produced the movie as a piece of "prestige propaganda" to drum up support for the post-WWII world order. He believed so strongly in the project that he reportedly banned his theaters from selling popcorn during screenings to maintain a serious atmosphere. Despite critical acclaim and its ten Oscar nominations, the film struggled at the box office. Audiences in 1944 were perhaps more interested in the visceral reality of the current war than a three-hour historical lesson on the previous one.

Today, looking back at Wilson offers a unique window into how Hollywood viewed American leadership during a global crisis. It serves as a reminder of a time when studios were willing to gamble massive budgets on political biographies and high-minded ideals. While it may feel overly reverent by modern standards, the film’s message about the cost of isolationism and the difficulty of achieving global peace remains strikingly relevant. It is a dense, beautifully shot, and emotionally heavy piece of filmmaking that stands as a testament to the ambition of the studio system.

The Good: A Technical and Artistic Triumph

The most immediate strength of the film is its sheer visual splendor. At the time of its release, the use of Technicolor was often reserved for fantasies or musicals, but Wilson applied it to historical drama with breathtaking results. The vibrant hues bring the 1910s to life, making the political rallies and White House dinners feel immediate rather than like distant history. This visual richness is matched by Alexander Knox’s performance. Knox avoids the trap of playing a "Great Man" caricature, instead giving Wilson a human soul—capturing his intellectual stubbornness and his quiet grief with equal skill.

Furthermore, the film’s pacing during the convention scenes is surprisingly modern. It manages to capture the chaotic, adrenaline-fueled atmosphere of American politics in a way that feels authentic. The screenplay also deserves credit for tackling complex geopolitical themes—such as collective security and the nuances of the Treaty of Versailles—without completely losing the audience in dry dialogue. It was a high-brow experiment that respected the viewer’s intelligence.

The Bad: Hagiography and Historical Blind Spots

On the flip side, the film’s greatest weakness is its lack of objectivity. Because Darryl F. Zanuck intended the movie to be a tribute, it leans heavily into hagiography—the practice of writing the lives of saints. The film presents Woodrow Wilson as a near-flawless martyr for peace, largely ignoring the more controversial aspects of his presidency. Most notably, the movie completely bypasses Wilson’s dismal record on civil rights and his oversight of the re-segregation of federal offices, which remains a significant part of his historical legacy.

Additionally, the film's length and tone can be a barrier for the modern viewer. Clocking in at over two and a half hours, it occasionally feels more like a lecture than a narrative. The secondary characters, including Wilson’s family and political rivals, often feel like two-dimensional figures meant only to react to the President’s greatness rather than existing as fully realized people. This lack of narrative friction makes the first half of the film feel somewhat slow, as there is little doubt that the hero will overcome his early political hurdles.
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