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
Back in the day, if there was one historical injustice that could get any red blooded film-geek or cinaphile extremely agitated, it was the fact that Martin Scorsese had not won an Oscar. Of course in 2006, he finally did win for the overrated The Departed, putting that controversy to bed. But before that, film-geeks would foam at the mouth, especially knowing that the Godly director had lost twice to actors making their directing debuts.
In 1990, Goodfellas was robbed by Kevin Costner's goody-goody Western Dances With Wolves. And ten years earlier Raging Bull lost to Robert Redford’s Ordinary People.Continue Reading
The Dirty Dozen
The Dirty Dozen, the granddaddy of action super-team flicks, took the sheen off the WWII big ensemble picture (The Longest Day, The Great Escape) and mixed in the military cynicism that was bubbling up (encouraged by doubt about the Vietnam War) with rowdy anti-heroics (MASH, Kelly’s Heroes). Like so many films to follow, the film breaks into two halves easily: first, assembling the team full of anti-authority types (Stripes); and second, the undercover suicide mission behind enemy lines (Inglourious Basterds). After years of dependable supporting performances in The Wild One, The Man Who Shot Liberty Valance and Ship of Fools, this may be silver haired, tough guy actor Lee Marvin's signature role (with apologies to the great crime thriller Point Blank and his Oscar winning work in the otherwise forgettable Cat Ballou). The Dirty Dozen gives Marvin the perfect opportunity to showcase his brawn as well as his sense of humor. As Major Reisman, he is assigned the task of putting together a WWII team made of 12 creeps and criminals, many of whom are facing the noose, to first train and then sneak into France before D-Day to kill a group of high-end Nazis (with their dates) at a fancy chateau shindig.
The team is made up of many future stars, or at least interesting cinematic curios...Continue Reading