Good Night and Good Luck Review

October 10, 2005 12:53 PM
by [email]

In 1953, the most trusted man in America was Edward R. Murrow, and if David Strathairn’s understated miracle of a performance is any indication, I can see why. As the idealistic host of CBS’ “See it Now,” he brings the news to millions of Americans unfettered, a style that’s simultaneously straightforward and lyrical.

Director George Clooney and co-writer Grant Heslov keep Murrow’s speeches in tact, just one of the many authentic touches that grace “Good Night and Good Luck.” “Good Night,” which opened the New York Film Festival to packed houses and boasts a cast only a name like Clooney could attract, might not be the most sound film of the year (plot momentum fizzles towards the end), but I’d be remiss not to name it as the most important.

The pitch-perfect Strathairn is joined in the newsroom by Robert Downey Jr., Jeff Daniels, Tate Donovan, Thomas McCarthy, and Patricia Clarkson (marvelous as always in the only major female role).

Presided over by paternal producer Fred Friendly (Clooney), these up-and coming journalists seek news stories with integrity and enthusiasm that threatens to break down when Senator McCarthy’s blacklist circumvents the headlines. Terrifying several of the CBS staff, McCarthy’s anti-communist witch hunt has even powerful network execs like William Paley (Frank Langella) running for cover.

Prior to watching Clooney’s film, the extent of my knowledge of Murrow was this: he was newscaster, and I almost went to his namesake high school. So if the last twenty minutes of so of “Good Night” play more as a history lesson than a movie, and if several of the characters seem a bit thinly drawn, I’m willing to forgive it.

“Good Night” is shot in elegant black and white, and the 1950’s vividly breathe for each of the 90 minutes film reels roll. The son of a well-known Cincinnati news anchor and radio host, Clooney grew up in the broadcast world- it shows. More than just verbatim Murrow speeches and rare footage of McCarthy- it’s a particular spirit Clooney captures, one of determination and restraint- that Murrow and his colleagues were well known for.

Murrow’s daring McCarthy exposé, which was broadcast to glowing praise and cutting criticism, is well worth watching. Following the benchmark 1954 airing, “See it Now” was shifted from a daily program to an irregularly aired special, and network stringencies (including an anti-marriage policy for CBS employees) were more rigidly enforced.

As Strathairn pointed out at a recent press conference for the film, things haven’t gotten that much better. In the 1950’s one could point a finger at McCarthy, but the 21st century perpetrator is much more elusive. “Good Night and Good Luck” sends a strong (non-didactic) message to journalists and pedestrians alike- tell the truth, even under the hardest circumstances.

The filmmakers do their best work in humanizing, not glorifying, an iconic figure who did just that. In one of the film’s opening shots, Murrow waits for an onstage nod surrounded by a cloud of cigarette smoke. As played by Strathairn and staged by Clooney, this shot makes one thing clear- Murrow was wracked with nerves and fears, just like the rest of us.

Grade: A-