How well Theodore Roosevelt's ornate but warm, comfortable Sagamore Hill home reflects the man! Solid mahogany staircase, overstuffed, leopard-skin easy chair; Victorian knobbed table set, a mantel with family portraits variously framed, zebra rug over orientals, dark teal wall coverings and gold tasseled drapes, silver tea set, a teddy bear, pillowed chairs, stuffed animal heads on the walls alongside guns and bits of hunter and cowboy clothing, tusks following the lines of a dual staircase: Into all this, on October 27, 1918, bursts the old Rough Rider himself, after showing the last of us to our seats (to the music of his favorite, Sousa) and offering us cake like that he'll have with tea.
It's a vigorous beginning to a Roosevelt "plain speaking" about his life and viewpoints, often using whatever his position as a "bully pulpit." Admitting he likes to preach, he yet wants to get past his fame for such sayings as "Speak softly, but carry a big stick." He defends what seem extreme viewpoints as "possibly mild tomorrow." He takes us into his childhood and through his college days, guided by his father's principles and Bunyan's "Pilgrim's Progress," to his stint as a Texas cowboy (not a financial success); his brief first marriage ending in his wife's death after childbirth; his second marriage to Edith and the births of their children while pursuing a political career; his military service in Cuba. Ironically, it was the desire of political bosses to get rid of the thorn-in-their-side Teddy that made them nominate him for the U. S. vice-presidency and gave him his "shot" (made a surprise here) at being President.
To match Roosevelt's "time of expansion," Smith next appears in top hat and formal suit, going through memories of life in his newly renovated (by Edith) White House. Fully painting a portrayal of his family life, with dedication to every phase of his children's upbringing (a romping "obstacle walk" and successful archery lesson are reproduced), Roosevelt shows how all was animated by love and morality. These carry over to his political life. We share his love for Conservation. He makes us sorry about the failure of his Bull Moose Party but brings forth tears when revealing a personal, family tragedy.
It's hard to praise Michael O. Smith enough both for an involving script and a compelling performance. It's easier to applaud the straight-forward presentation and the master hand of director Richard Hopkins in shunning affectation to let it unfold.
