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Paul Getty, of which her son’s kidnapping is but the latest chapter.

Scott’s version of John Paul’s mother (played brilliantly by Michelle Williams) portrays her as a woman in a lifelong ideological battle of wills against J. While Trust plays all the angles in depicting the circumstances of John Paul Getty III’s kidnapping, All the Money places Gail firmly in the role of protagonist. That said, she projects an admirable intensity and doggedness, even if the first few installments of the show have yet to see her at the forefront of the story. In the early episodes of Trust, Hilary Swank doesn’t get much to do as Gail besides hover by the phone, waiting for news of her son’s kidnapping. In a drama filled with charismatic figures, it’s Gail Getty (nee Harris), John Paul’s mother, who has the thankless role of projecting normalcy amid all the madness. If Plummer’s Getty is Scrooge, Sutherland’s is Caligula, with a healthy dash of King Lear thrown into the mix. His Getty is a man who truly believes he owns the world, hoping to shape it to his liking – right down to his harem of beautiful women with whom he has ritualistic, regimented sex (sometimes with the aid of experimental virility drugs injected directly into his, erm, oil rig). Sutherland, meanwhile, imbues his Getty with a much more devilish sense of theatricality, his Sutton Place behaving more like the camp stylings of Dynasty than Downton Abbey. We only ever see him in intermittent check-ins with other characters, almost always by himself, surrounded by his possessions – a picture of the isolating nature of greed. Plummer’s Getty is irascible and intense, Scott painting him as a grumpy, Scrooge-like isolationist who prefers the company of his art collection and stock ticker to other human beings. Paul Getty’s a meaty, showy role played by two veteran actors, so it’s no surprise that the embody the role with two disparate, but equally compelling, portrayals.

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In Trust, Getty is played by the stone-faced film and TV veteran Donald Sutherland. In All the Money in the World, Getty is played by Christopher Plummer, receiving an Oscar nomination for his last-minute replacement of Kevin Spacey in the wake of numerous sexual assault allegations. Paul Getty, the spendthrift oil tycoon who values money more than anything, but who doesn’t have a penny to spare.

The enigmatic, larger than life figure at the center of both Trust and All the Money in the World is J. Each version has a different spin on its major players, the way their filmmakers tell the story, and (most importantly) the messages it conveys to its audience. However, there’s an argument to be made that both stories justify their existence – not in spite of, but because of the proximity of their respective releases. However, Trust invariably lives in the shadow of last December’s Ridley Scott film All the Money in the World – one may wonder whether one negates the other. It’s fitting, then, that we’re getting not one, but two retellings of the Getty kidnapping in the space of four short months.įX’s upcoming 10-part miniseries Trust, directed by Danny Boyle and written by regular Boyle collaborator Simon Beaufoy ( Slumdog Millionaire, 127 Hours), seeks to tell the story of Getty’s kidnapping, and the impact it has on the rest of the Getty family, in Boyle’s signature, energetic style.

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But it seems to hold special importance now in an era where another over-the-top, idiosyncratic billionaire is the most powerful man in the free world. Paul Getty’s lavish lifestyle, and his inhuman response to his grandson’s kidnapping, has been a subject of fascination for decades. Paul Getty, announced his response: that he would pay “not one solitary cent.” Upon receiving a ransom note demanding $17 million for his safe return, the boy’s grandfather, billionaire oil tycoon J. In 1973, John Paul Getty III, the handsome, curly-headed heir to the Getty Oil fortune, was kidnapped in Rome.