Good Night, and Good Luck.
Most of the movies directly about the horrors and political terrorism of the McCarthyism of the 1950s usually center on a dim schmuck who accidentally finds himself involved in the blacklistings. They’ve ranged from the good (The Front with Woody Allen working as an actor-for-hire), the bad (Guilty by Suspicion, the beginning of Robert De Niro’s slid towards mediocrity) and the terrible (Frank Darabont’s awful The Majestic with Jim Carrey, a movie that makes “Capra-esqe” a mortal sin). The usually simplistic genre helps make mega-star actor George Clooney’s second directing effort, Good Night, and Good Luck. (after the interesting but far from perfect Confessions of a Dangerous Mind), seem positively genius in comparison. Instead of piercing the blacklisting from the streets he sets it upstairs in the newsroom of the TV show See It Now, where the legendary broadcast journalist Edward R. Murrow (played by David Strathairn in the performance of his career) dared to take on Senator Joseph McCarthy and his House Committee on Un-American Activities. Clooney (who also wrote the script with another one-time journeyman TV actor Grant Heslov) not only makes one of the most pointed films about this ugly period in American politics but also gives us a fascinating glimpse into the working of 1950s television. Shot in color and then transferred to a stunning black & white in post by cinematography all-star Robert Elswit (he’s shot all the Paul Thomas Anderson joints up to There Will Be Blood), Good Night, and Good Luck. really is a marvelous film, beautifully realized in its simplicity and a triumph on all fronts.
Murrow and his trusty producer, Fred Friendly (Clooney), fluctuate their television news magazine show between lightweight celebrity interviews (Liberace!) and more meaningful political pieces, where their heart really is - the fluff is a way to appease their sponsors and the higher-ups at CBS. Knowing that it could start a battle, they decide to take on the dangerous bullying tactics of Senator McCarthy, who was at the height of his powers. He was ruining careers of American citizens by accusing them of being Communists unless they groveled and told McCarthy what a great job he and his Committee where doing, and they were often forced to name others who may be Communists, just to give more names and more power to the often drunk lout Senator. Murrow and Friendly have to walk a tightrope when the Government begins to hint at an investigation of the station's employees and McCarthy himself falls on his old standby trick, accusing Murrow of being a Communist. Meanwhile the head of CBS, William Paley (Frank Langella, wonderful in the role), is forced to defend his star but also tries to keep him on a short leash (the moments between Langella and Strathairn are the best in the movie). The staff is under their own pressure. Robert Downey Jr. and Patricia Clarkson play a secretly married couple (CBS policy did not allow employees to wed), and in another captivating performance, Ray Wise plays CBS News Correspondent Don Hollenbeck who admires Murrow but lives in terror of having his own lefty political background exposed.Continue Reading
Out of Sight
Out of Sight is the story of a bank robber (Clooney) and his loyal sidekick (Rhames) who bust out of prison and abduct a U.S. Marshal (Lopez) on their way to heist millions in diamonds from an ex-con billionaire (Brooks).Steven Soderbergh (Traffic) directs a film that defies genres, making one of the most unique crime films in modern cinema. It’s both an interesting double-crossing caper and a brilliant romantic-comedy. Elliot Davis’ cinematography is fluid, mainly hand held, capturing wonderfully large and small moments alike. He makes great use of the color palette to differentiate the many locations, from the humid plains of a Florida prison to the gritty streets of steely Detroit. Scott Frank’s screenplay is smart, funny, and filled with crackling dialogue delivered by wonderfully colorful characters. There is no novelist who creates more endearing, seedy underworld characters to adapt to the big screen than Elmore Leonard. There is always a haze of gray in the morality of the characters-- whether it is the law or their criminal counterparts. It’s worth noting that some of the best scenes are additions made by Scott Frank. They fit so well within the paradigm of the world that it is impossible to discern which ones they are.
Anne V. Coates’ great use of non-linear editing throws us around in time and space, dolling out dimension to the large cast of personalities. Making great use of jump cuts and freeze frames, Out of Sight has the rhythm and style of a French New Wave film. David Holmes’ score is ultra-hip and reminiscent of crime cinema of 1970s, giving it a happy-go-lucky air.Continue Reading