Director: George Clooney
Screenplay: George
Clooney and Grant Heslov
It
always strikes me, how a movie so short and bare can be so powerful every time I
happen to get sucked into George Clooney’s “Good Night, and Good Luck.,” I
thought I was a little early, when I discussed it upon original release as
being comparable and even better than other such investigative classics about
journalism like “All the President’s Men”, the film its probably has gotten the
most comparison to, but I don’t think I was. Granted, one’s about the
uncovering of a crime, while in “Good Night….,”- well there is a crime being
committed, but it’s really about a showdown better two people, the first of
such kind to take place, in the newest and more important of mediums,
television.
Bookended
with the famous speech Edward R. Murrow gave in 1958 about the state of
television journalist that both warned about and foreshadowed the tabloid and
infotainment age of television news, this claustrophobic masterpiece “Good
Night, and Good Luck.” ranks as one of the best films ever made about
journalism.
Also unlike, “All the President’s Men”, I’m not sure the
audience knew the outcome going in, which says more about the audience than
about the film. There’s nothing complicated here, it’s the story of how Murrow
(Oscar-nominated David Straitharn) took down Senator Joseph McCarthy, not just
by using investigative techniques, but by using television and the forum to
dismantle his claims and investigative techniques not only as un-American but
unlawful. This was George Clooney’s second film as a director; both of his first
two dealt with television. His first, the highly kinetic “Confessions of a
Dangerous Mind,” was based on what can only be describe as the “unauthorized
autobiography” of game show creator/host Chuck Barris, showed Clooney was more
than capable of directing anything. It’s easy to see his fascination with the
medium. His father used to direct local news and game shows, and Clooney spent
years as a lowly television actor, with occasional recurring roles on such
shows as “The Facts of Life,” and “Roseanne.” (My favorite statistic is that he
was cast in the pilot of two different shows called “ER”.) He takes a small
part here as TV producer Fred Friendly, so as to focus his attention on the
film. I forget he’s even acting in the movie half the time.
Behind the
director’s chair is where I picture him with this film, and it’s strikingly
different from all his other directorial works. How he masterfully uses frames
and windows to foreshadow the futures of some of characters, how he chose to
shoot in black and white and use the actual McCarthy footage, essentially
letting McCarthy cast himself, and watch as he comes off surprisingly caricaturist
and not-at-all like the grand presence that is usually equated with mention of
brief power in American history books. These don’t seem like difficult
directing choices, but they aren’t the natural ones to make. I wouldn’t be
surprised if a third of the movie consisted of old television footage. With six
Oscar nominations, it became the first completely black and white movie to earn
a best picture nomination since “The Elephant Man.”
The other directing choice
is how insular he made the movie. We never get the homelife of any of the
characters; for instance, or learn anything particularly new about them. It’s
not an expose, it’s simply a statement of facts while trying to get the feeling
of living in McCarthyism America. Actually, I’m wrong, there’s only one minor
subplot in the movie, involving two co-workers (Robert Downey Jr. and Patricia
Clarkson) as they try to keep their marriage a secret and worry about being
found out as it was illegal for CBS employees to be married to each other at
the time. Other than that, there often seems to be only two locations, the CBS studio newsroom and a
local bar where a jazz singer (Dianne Reeves) occasionally performs songs that
undercut the tension. I’m sure that Clooney also wanted to draw parallels to
some of the actions the Bush administrations and others had began undertaking,
but I think more importantly like Murrow, and me, Clooney considers television
not simply as a box with tubes that shows pictures, but as the best educational
tool since the printing press. We all know that it’s not always used for that,
and too many people seem to generalize or forget that, but despite our
twenty-four hour news cycle of exploitative journalism, occasionally you do see
moments where the limitless power of television were used to its fullest
potential, and that’s not just journalism, that’s across the entire television
platform.
What’s amazing is how through television, Clooney is able to use film
to its fullest potential. Also like Murrow making the choice to go after
McCarthy, Clooney didn’t have to make this film; he chose to.
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