Murrow...it's a name that anyone who has taken a media
communications class will know, and any generation that calls Brill
cream an essential travel item, should. Murrow was American broadcast
journalism's original idealist, and he lived it on the airwaves. The
Emmy Award winning See it Now (1951-1958) was his first
television vehicle, a news and public affairs program that gave a face,
in living black and white, to the voice that had already reeled in
America's ears during his WWII radio broadcasts. Good Night, and Good Luck takes a celebrated slice out of See it Now's
eight year run, when a somber Joseph McCarthy was high in his pursuit
of communist sympathizers. The footage of McCarthy is real, which both
adds authenticity and a JFK style unsurity to the film (unlike Big Brother 24
though, the merits of this story can be researched). Either way,
McCarthy is perfect as himself, as sweaty-faced and dislikable a
character in reality as could ever be duplicated by an actual actor,
Eric Roberts the exception. Murrow and producer Fred Friendly (Clooney)
decide to take him on in the name of values beyond mere journalistic
oaths. The fun is in watching Murrow and his team of seasoned
professionals squeeze democratic ideals and virtue into their attack,
daring but careful enough in their approach not to cut their own legs
off. They tip toe aggressively, butting heads with the American
military and CBS head William Paley (Frank Langella), who while
respecting their motives, can't help but be mindful of their sponsors
and the employees who depend on them. Money. It was bound to be a
factor, an impediment to truth and liberty, but here it's not a
contrived device. If any true to life event helped to give rise to the
modern film cliche "money corrupts", this is one. It's an
American story but it's also the story of a man, Murrow, however summed
up over the course of those historic days in 1954. Fitting maybe.
Today's lives aren't made or broken in the course of a media sound
byte, just judged absolutely. Still, what Clooney serves up has the
focus of the evening news in watchable silky shades of charcoal. It's
lovely to look at. The corridors of the CBS studio are a German
expressionist funhouse without the slashing angles, and as Murrow and
his bi-line swat team exhale wisps of Kent across their own white
starched collars, you're reminded once again that at least smoking will
always look cool. Strathairn was touted as Oscar potential for
his spot-on depiction of Murrow. I couldn't say, being as distanced
from the real man as anyone without a hair piece or a mortgage, though
it is an addictive portrayal of stern journalistic professionalism and
principle in a man with a gift for making every word count. And he
wastes no time. In the opening minutes, Clooney shows his
adeptness at floating cameras and rack focusing during a pre-event
schmoozing at a Radio and Television News Directors Association dinner.
The mood is light, full of smiles and back patting from career brothers
in arms. It settles, and Murrow steps up to the mic, delivering a
series of statements pegging the industry as being "fat, comfortable,
and complacent," with television being ever more used to "detract,
delude, amuse, and insulate us." There's definite currency in his
words. For anyone watching it's hard to not realize exactly what he
means. Maybe knowing what he stood for, without knowing the man, is
enough for now. EXTRASThere are only two main extras on
the DVD, but both are worth a squiz. Co-writer/director George Clooney
and co-writer/producer Grant Heslov provide commentary, and it's a
lively one of that. The guys - though Clooney speaks the most - are
lively, humorous and very informative. The other extras is
a 15-minute companion piece where we hear from the cast/crew, but more
notably, those that are familiar with the historic event to extreme
detail - including Murrow's son. Conclusion:
Movie 80% Extras: 40% |
