Review of Good Night, and Good Luck. (2005) by Matthew P — 12 Dec 2009

Back in the 1950?s, two things were at mammoth boom ? smoking and that popular leisure in every living room called the television set. But even further deep down inside those two different denominators, we find two more forgotten icons. Senator McCarthy, a raging man with dictating proportions, and eloquent Edward R. Murrow. At that time, during the apex of the Cold War and the industry fad starting to fad away, it?s hard to realize the most virtuous. Somehow though, these two prominent figures made through all the adrenaline rush to get noticed ? for better or worst. Nevertheless, they were the specks, the exemplars, the idolized. And the insulated.

Though, Edward R. Murrow (David Stranthair, respectively) infused all the ingredients of being the chivalric hero, standing up for his own rights, he had little to look for. Taking a radical gamble (not only in his own company ? but his very own head) had him being able to see vague yet obsolete consequences, waiting. There was the mere opinion of the viewers, his infuriated boss (Frank Langella), the wary edge that his mates? felt, and McCarthy, himself. Let?s remember, that this was during a shaky, rising action stage (the ?30?s depression is long gone; the ?80?s aren?t quite here yet) and things are starting to be shaded a little more grayer with a hint of black. Communists are also starting to be resented and feared by all Americans ? no one would even mention that sole label, and families everywhere even threw away every red garment they had. But the Soviets aren?t the only ones: Senator McCarthy uses his fearful tactics too, having others mortified of him taking usurping charge. One of them happens to be a CBS TV figure host of the half-conservative political show, Face-to-Face. Murrow was currently enunciated as him being at the pinnacle of his fame (similar to McCarthy) and had his happy-go-lucky verge gone wrong ? his baggy eyes watching McCarthy continually fighting with others had enough. His ventilation? Air a 30-minute episode infested with McCarthy footage with the help of his faithful adjuvant, Fred Friendly (George Clooney). The stakes finally arise and it?s peculiar ? beware, amateurs: there aren?t any crackling gunshots or aberrations of brawn brawls. Instead, here?s a black-and-white homage of the ?50?s with interviews, perspiring studio workers and cigarettes burning.

We then dwell deep inside the intriguing environment Murrow works with, that isn?t just the cigarettes or thick glasses the workers are wearing. Meet Joe Wershba (Robert Downey, Jr.), a classic-looking face fit right into the time era and also having that daring personality any woman couldn?t resist. That would be gaunt-faced, blond-headed Shirley Wershba (Patricia Clarkson) who secretly is dating Joe, breaking concrete rules. What seemed a minor love story then slowly percolates into a coming-of-age tale that dives right next to the Murrow vs. McCarthy case that adds an even more eloquent narrative. But it?s not just the couple?s rebellious marks ? it?s everyone: furious, pudgy senior boss (Jeff Daniels) decides to omit some workers, not only because of Murrow?s edgy act, but also because of the constant rebuttal movements. Then, whilst the Face-to-Face episodes do develop, so does he; he has already formed a bold grudge against Murrow of him trying to border outside conventional boundary lines. However, there?s that scathingly serene hope still left in him. Whether the myriad of the supporting characters have a myriad of disagreements with Murrow, they secretly do want him to prove his ?cajoling? idea of proving McCarthy wrong. And on screen, the actors don?t seem to disappoint or abuse the personas of them ? congrats, Clooney on being a respectful acting director too.

Once the episodes amble onto another extreme and break the mold of a lesser-derogatory relationship, citizens all around, quietly applaud at Murrow?s achievement. Well, almost everyone. Senator McCarthy again ?straightness and polishes? their beliefs and takes complete dominance over them. Except Murrow and Fred who?s still taking the aversion putting chare that they both know might go wrong. They just want to change the doubtful and rather deprave used-to-be irenic America. Though, after each successful win, optimism is still up in the air: the cast and crew of the show go out to the same bar with a melodic African-American singer synchronously. They?re drinking a bottle of Scotch, laughing, clapping and becoming exuberant zeals over the rave of TV critics taking some acclaimed dish of what they just saw. All are glad except out hero; is he disappointed at his under-achievement of this job trying to pin McCarthy down? Nope ? he?s become a tortured man knowing something will lurch deep down that may be a plump, hairy coiffed, stubborn speaking Senator. Yet, what is his consolation? Another drink of Scotch.

As the film progresses, the amazement progresses; with George Clooney?s dense ideas, the intense trajectory holds no barrels of being a PG rated film. He?s the co-writer, director, supporting actor; but his real contribution? Always was and always will be a #1 fan of Murrow: ?He was a huge part of me growing up. My father was an anchorman doing news his whole life? so Murrow was always the high watermark for me.? Strong, pious believer for such a prestigious icon comes great deliverance; Clooney was more than glade to be asked to working on this project ? in fact, maybe a little flattered. ?To me, it was an interesting topic to talk about again. I worry about polarizing issues? I mean, we all know what the world is like out there and this story proves this.? Each visual and scripting frame Good Night and Good Luck portrays has Clooney?s signature up and down: that brutal yet awe-inspirational twist is in every debate sequence; every monolingual line. ?George was in fact, really faithful to this project,? David explains. ?And he used his own personal experiences to create this sort of thing.? That?s deadpan correct ? during many of the Face-to-Face episodes Murrow presented, viewers see a much too familiar face of McCarthy, á la authentic interviews and real-life footage. Clooney also adds, ?We were going to use archival footage anyways, and it would just stand out to badly if we did it any other way.? Every resentful line McCarthy spits out of accusing an innocent, every stubborn line he buffers up is in here; a 1 hour 30 min film that gives so much more.

While we watch more intellectual melees and hindrances emerging, moviegoers really piece a work of intense, beautiful art Clooney glued together. His film makes us sweat, worry, sit precariously on the edge of the seat ? but there?s nothing too loud on screen. Finally the most serene yet claustrophobic film unravels that can be impressed both by historian buffs and viewers alike. Not only the old fashioned elements (via the real life footage of McCarthy) but visually does this film turn important during a dead, flat Hollywood that may want to reconsider fresher ideas. ?We did it piece by piece by piece to get it,? Clooney explains. ?But I only knew Murrow and McCarthy in black and white? So I think that you have to film things the way you remember them.? Right on with that philosophy: there were fatuous movie moments you?ve worked on (anyone say Batman & Robin? The Good German?) And instead, this work is nearly surreal. The black-and-white cintemography takes twice as long to restore and cut; yet the factor nearly ameliorates the entire experience. Add more to this, the environment and faithful production design also have a much more unique taste than most biopic films. The over-the-top hand-made advertisements, nostalgic speak of language, and the seemingly ancient type of sound audio Clooney constructed is unbelievable. ?The smoking commercial I put in because we?re smoking so much in the film? Everyone smoked and you can?t change the rules. You even had the doctor checking your heart with a cigarette in his mouth.? Anyone proud of Clooney?s now-rebooted career?

After the utterly innocuous line Murrow says of opposement towards McCarthy, the Senator fought back with claws: what became a mere statement to truth turns into a ludicrous, gritty snowball effect. Murrow concludes, ?If anyone disagrees with McCarthy?s ideas, you are a Communist. Then apparently everyone is one.? He still has his cigarette postured in his now ruined yet somewhat even bolder outline. ?Murrow?s the man,? Joe explains to Shirley when things at work start to degenerate. ?He?s on fire and we?re with him.? In that time, where everything was supposedly sleepy with TV?s on and cigarettes laying everywhere, Murrow vs. McCarthy was perhaps the most controversial indirect smash, if ever. Clooney adds, ?I tried to treat this film as my father did and he talked to me about it for a long time.? Real-life Murrow probably was sitting around the corner trying to quit smoking cold turkey, waiting for the disciple to emerge: though, if you think Clooney?s directing skills vibrate a blunt move, just imagine any other to sat on his director?s chair. Anyone? If there was that one special director with that special talent usurping this project, there would be a great, implausible heist ? this was just for Clooney. His personal effects cuts a galvanizing scratch of having us getting plunged into a dark, virtual world that?s so significant, so essential, yet so forgotten; and this just had to take one famous actor?s nostalgic childhood. It didn?t exactly come from his father?s sediment, nor McCarthy, and not exactly Murrow?s impact.

It only came from Clooney, and Clooney himself. A great icon passes the torch to another icon.

My grade: A-.

My line: 2005's most serene yet most intense film --- a beautiful work and a definite Oscar contender for that time.

My rating: PG for smoking, langugae and some thematic elements.