Customer Reviews

Good Night, and Good Luck (Widescreen Edition)

5 star:		(165)
4 star:		(88)
3 star:		(38)
2 star:		(16)
1 star:		(25)

 

 

This movie will be attacked, and for all the wrong reasons. It will be interpreted as a piece of leftist agit-prop. It will be attacked for being filmed in black and white and entirely indoors. But these complaints should not make the potential viewer think that this movie is not worth the watching. That is incredibly wrong.

GOOD NIGHT AND GOOD LUCK captures a piece of time which is rapidly moving from current events to history. This is sad. The great Edward R. Murrow's meritorious dedication to the integrity of journalism is fast fading from the American memory. And while GOOD NIGHT AND GOOD LUCK only examines one aspect of his long career, what an aspect it is! Murrow's pit-bull grip to bring down the infamous Joseph McCarthy was probably the highlight of his career. (Unfortunately, it also relegated both men to the "back row" of their professions, in the long run.) Some people have read about how political cartoonist, Thomas Nast, brought down Boss Tweed in the 19th Century. Some people remember how Woodward and Bernstein were an integral part of forcing Nixon out of office. But this journalist's contribution to restoring sanity to America during the 1950s is hardly remembered, and not at all talked about in schools (unless you take a journalism class--and that's maybe!)

The performances are wonderful. Strathairn IS Edward R. Murrows: remarkably understated and still very intense. George Clooney, as Fred Friendly, is his perfect foil--very extroverted and constantly joking. It was good to see Robert Downey Jr. take such a serious role, again. His portrayal of Chaplin is the last serious thing I think he did. Jeff Daniels was perfectly cast as the tooth grinding stuffed shirt, and Frank Langella was on-the-money as the powerful William Paley, owner of CBS.

My only negative comment concerns the amount of time spent on the love affair between Downey and Patricia Clarkson. It really leads to an anticlimactic conclusion. The time would've been better spent helping younger viewers with some more exposition and gathering more sympathy for Ray Wise's Dan Hollenbeck, who was as much a target of the McCarthy sycophants as anyone else. (I would have also enjoyed more time watching McCarthy being brought down.) Still, this should BY NO MEANS prevent from watching this important film. It may not fit into your political views, but GOOD NIGHT AND GOOD LUCK will definitely fulfil the film lover in you.

One of the great things about George Clooney's "Good Night and Good Luck" is that you need not know anything about Senator Joe McCarthy or Edward R. Murrow to appreciate the importance and drama of their 50 year old conflict played out on TV in the every home, every night here in the US and around the world a half century ago.
Gloriously shot in evocative black and white and expertly directed by George Clooney with a sensitive eye towards the 1950's milieu of this story: stock footage of McCarthy is seamlessly and cleverly blended with new, "GNAGL" is made as contemporary and palpably current as this morning's newspaper.
David Strathairn plays Murrow as a conflicted man: inexorably drawn to the pursuit of truth and the uncovering of those that would attempt to obscure it yet always aware that his position as television's conscience requires of him a certain amount of decorum. His portrayal is marked by both a frantic restraint and a quiet passion that speaks to the very best in all of us.
"Good Night and Good Luck" is a daring, sophisticated movie that holds its audience in the highest regard: never once dumbing down its cogent story in order to win us over. It is a film that demands a lot of us, but our payback is in the invaluable and irrevocable currency of understanding and tolerance.

Black and white, and set in 50's America, "Good Night and Good Luck" is the sign off slogan of one of America's greatest journalists and early television pioneers, Edward R. Murrow. Murrow made his bones in WWII as a correspondent, and continued with a distinguished career as a journalist and radio/television newsman at CBS in the 50's and early 60's.


"Good Night and Good Luck" is a jewel of a film for the history buff who still shakes their head at the paranoia and all encompassing aspects of the McCarthy witch hunt in the 50's. I think you just had to be alive then, and feeling the fear we all felt of the Cold War and the specter of Communism, to understand how this land could have been misled and led by the nose thanks to the "junior Senator from Wisconsin".

Some reviewers say that the clash between Murrow and McCarthy, between a free television press and television that is simply an entertainment venue, is as engrossing for those who aren't fully aware of that era of our history, as it is for those of us who lived then. Perhaps, but I think not. Part of what makes the film a success is the director's infallible instinct in recreating the 50's...from the prevalence of smoking to the clothes, sets and dialogue of those who lived through the era.

What a marvelous piece of imagery it was to utilize only filmclips of McCarthy in the movie, instead of getting an actor's portrayal. With this film, Geoge Clooney fully establishes himself as a force to be reckoned with, in filmmaking. Directing, assisting with the script, and acting the part of Edward R. Murrow's boss, Fred Friendly. The film is terse and pointed, perhaps more suited to a venue like HBO than it is to the movie house, and while it boasts a strong message in today's media bashing climate, and some incredibly strong performances, it still lacks that indefinable something that makes a fine film a great one.

Perhaps it is the lack of the human spark in the characters. The romance of two of CBS' staffers, the Wershbas (Robert Downey Jr. and Patricia Clarkson) is little more than a sidebar. And while the faceoff between CBS' owner, William Paley (Frank Langella in a dynamic return to drama) and Murrow is not for the faint of heart, it is still cold and calculated. Some of the emotion is missing. Thus, the suicide role for television announcer Don Hollenbeck (Ray Wise) is more matter of fact than heartbreaking.

Clooney is fine in his role and the supporting cast, including television actors Tate Donovan and Reed Diamond, do excellent work. But any review of this film pales without the mention of David Strathairn as Edward R. Murrow. Deciding, at the risk of his own career, to take McCarthy on, Murrow was a quiet symbol of what is great in America. As Murrow, Strathairn is eerily a recreation of the man himself, with the quiet, convincing style that belies a man of impeccable reputation. Strathairn is a bit of a journeyman, with a long history of memorable small parts. You may not even remember him in L.A. Confidential, in The Firm, in The River Wild, or over the course of a 25 year film career. You remember you've seen him before, but you can't remember where. Less easy to forget is his memorable turn as Robert "Bob" Wegler, A.J.'s guidance counselor in the 2004 run of "The Sopranos". As Bob, Strathairn was far less interested in helping A.J. than he was in bedding Carmela, which he did in a delicious turn of events on the show.

As Murrow, Strathairn has come into his own as an actor; he is a quiet force on the screen, the reincarnation of the newsman. Affable and steely, he makes you believe in his cause, which is not bringing down Joe McCarthy, but rather bringing up the quality of the television industry, to make it more than just another entertainment venue. Clooney chose well when he chose Strathairn, and the actor's passion and intensity shines through in the role. I suppose there may be a better turn in a leading actor's role in film this year, but at this point, I have not seen any.

For the serious film buff, "Good Night and Good Luck" is being shown in limited release around the country, and will not win the hearts and minds of many who go to films to be strictly entertained. The message is too intense, the film too understated for most. However, it is among the very best in films released this year, and while somewhat emotionless for the audience, one can tell that it was a labor of love for the filmmakers.

In a sidebar, the clips of songstress Diane Reeves singing 50's jazz between interludes was incredibly enjoyable!

If only they could have found a way to include my favorite Murrow quote about television:

"If we were to do the Second Coming of Christ in color for a full hour, there would be a considerable number of stations which would decline to carry it on the grounds that a Western or a quiz show would be more profitable."

Unlike many films that build off biography and the events of the past (e.g., "The Aviator"), "Good Night, and Good Luck" tries scrupulously to reproduce the events it protrays, down to using many of Edward R. Murrow's exact words and cutting in real footage of Senator Joseph McCarthy and his Senate hearings. This approach moves it far closer to a documentary than other Hollywood productions. The long-lens black and white photography, which brings the foreground into exquisite relief while blurring the distance, also helps to create an atmosphere of grainy verisimilitude. True to history, the newsmen all smoke, creating a swirling haze that contributes to the photographic effect. Really dazzling.

The meticulous acting of David Strathairn, a brilliant casting choice for Murrow, and George Clooney's restrained and ironic presentation -- both as co-director and in his part as Murrow's producer Fred Friendly -- give this film emotional subtlety and intellectual power. I'm so pleased to see Strathairn in a part really deserving of his considerable talent. And I have to say that the mobile face in black and white of Robert Downey, Jr., as Joe Wershba (one of Murrow's colleagues), is a feast for the eyes. McCarthy, of course, plays himself in newsreel footage, which is also an intelligent decision, explained in the commentary on the film, because it keeps his character from toppling over into caricature and allows the film to explore journalistic ethics without being too heavy-handed about its moral position. Of course, that position is there, but as Murrow advocated that journalism has a role in public argument, it's only right that this film take a position too.

Because the film so scrupulously reflects history, the storytelling is not as tight as it might be. The romantic "subplot" between Wershba and his wife - the commentary says the backers told Clooney and his co-director Grant Heslov that they needed a woman in the newsroom - feels like a distraction, and since no "actor" is playing McCarthy, there is a lot that cannot be done in the way of direct confrontation between the principal characters. Suspense is a little lacking also, chiefly because any educated person knows what really happened. But Clooney and Heslov do a good job of working around these limitations.

In addition to directors' commentary, the DVD also includes an excellent companion piece, which interviews Murrow's and Friendly's children, as well as surviving Murrow colleagues. Dianne Reeves' singing (the film imagines her as a kind of Greek chorus) is also highly enjoyable -- I'm planning on buying this film's soundtrack too; can't remember the last time I wanted to do that!

George Clooney has come into his own as a writer and director. His attention to detail and realism, rivals almost anything else I've seen out there in years. It's almost too much like watching a documentary. A bit talky for its 93 minutes, but should be seen by Americans as a reminder of modern-day witch hunts, and how the lives of innocent people are sucked-in and destroyed. The real star of this film however, is David Strathairn's effective portrayal of Edward R. Murrow. One of the better biographical characterizations by any actor. This is not a film I'll be watching over-and-over again though.

This movie doesn't propose that all of McCarthy's accusations were paranoid delusions, any more than Murrow believed that there wasn't a single Soviet spy in the United States during the 40's and 50's. Certainly there were spies uncovering U.S. secrets, as surely as our CIA had spies operating in the Soviet Union. What Murrow disagreed with, and what he felt a responsibility to tackle, was the demagoguery of a single junior senator from Wisconsin who overstepped the limits of his allotted powers and caused a nation to tremble before him. Murrow stepped up to the plate and executed the media's watchdog role in an era when conformity and towing the government line was expected. Certainly there were communist agents in the U.S., but McCarthy wasn't interested in facts-he was interested in a witch hunt that would prolong his own power.

Political overtones aside (and certainly, given the nature of this events depicted in the film and the time of its release, there are many), "Good Night & Good Luck" is a superbly executed film. Its black and white cinematography is absolutely gorgeous, and evokes the true feeling of the 50's perfectly. Strathairn absolutely inhabits the character of Murrow, portraying not only his unwavering sense of journalistic pursuit, but also the conflicted and often deeply troubled personality lurking beneath the face and voice an entire nation trusted. Moreover, the entire ensemble works brilliantly together to bring back an age in broadcasting that will likely never be seen again-CBS run by the overwhelming presence of Bill Paley. And the film is complemented by a gorgeous score from Dianne Reeves that helps to frame not only the time period but the underlying themes of the story itself. All in all, a cinematic triumph and an excellent portrayal of an event in American broadcasting history that deserves to be remembered.

As I watched this, I was transported to the early 1950s and felt immersed in the plot. George Clooney did a brilliant job directing, writing and performing in this film. I loved the way the film was interspersed with real McCarthy footage. It flowed wonderfully! This film made me think. Although I am an elementary teacher, I majored in journalism and this film made me go back to those courses and, sadly, realize that current journalism pales in comparison to Murrow's work. This film is one that ranks with "Mr. Smith Goes to Washington". It should be required viewing for all newsmen, government officials, and those of us who seek equality for all

This is George Clooneys masterpiece - and its easy to see why he made it now, as the issues brought out in the movie are so easily transposed to current day. The movie faithfully depicts, through faithful reproduction of his monologues as well as actual footage, the sequence of programmes Ed Murrow made exposing McCarthy and ulimtately playing a part in bringing about his downfall. This is mixed with the drama of what was going on behind the scenes and the real cost of telling it like it was at a time when fear was king, and telling the truth had real consequences.
This is a talking heads movie - there is no flash bang effects, or tense scenes. It's all about what was being said, and why it was being said. Even then, you have to listen pretty hard because Clooney has used a verite style of people talking as they do in real life, overlapping and not always talking in neat sentences.. except for those masterful monologues. The movie is in black and white, which does not detract but rather accentuates the drama both by making it feel authentically of its time, and bringing out rich detail of the characters expressions and nuances.. and as a sidenote, cigarette smoke has never looked more beautiful, almost a character in itself at times - how jarring it is to see one of the most respected newscasters, with cigarette in hand while addressing the nation!
The acting is simply perfect - Strathairn is knockout as Murrow, and must have spent ages poring over his newsacst to so faithfully recreate him, and do so with so much heart.
For me the movie had two messages - one, the obvious political one, and the other - the state of television today. There is nothing on TV now that comes close to the intelligence and impact of Murrow's pieces.
Watch this if you want something to spark debate and conversation - don't watch this for a popcorn movie or if you want something exciting or tense. As entertainment, this scores low - as thought provoking cinema, this is first class.

Beautifully shot in black and white (with lots of the 50s archive footages), `Good Night, and Good Luck' bring us back to the days of Senator Joseph McCarthy. Its downbeat pace and nearly confined location in TV broadcasting studios are not for everyone's taste, and any people who would be interested in this subject matter have already known the consequences of the battle between the journalism represented by CBS and Edward Murrow, and the political power.

Still, George Clooney-directed `Good Night, and Good Luck' has one merit; it has authentic feel of the time and place -- a close look at the earlier days of hectic TV broadcasting system, for example - and riveting acting from David Strathairn as Murrow. Look carefully at his performance, and you will notice that he expresses, under the dead serious face of Murrow sitting calmly before the TV camera with a cigarette, another Murrow, nervous and vulnerable.

But we are not allowed to know much about Murrow and his life. The film is more about the still on-going relations between the media and the politics, and it poses several thought-provoking questions as to the functions of television in our society. Edward Murrow refuses to be content with his `victory' as the initial scene of the film suggests, but as the film goes on, what he aims for begins to look, to most of us I think, unattainable. Suppose you choose a show to watch, which do you prefer, Ed Sullivan or Ed Murrow? But who decides what to watch? The brief confrontation between Morrow and the CBS boss Bill Paley (Frank Langella, very good) provides insightful view that could have been more powerful with a more emotionally approach.

[REFUSES TO SHOW CERTAIN THINGS] The film provides lighter moments with a love affair episode of the characters played by Patricia Clarkson and Robert Downey Jr. Another memorable (and more serious and tragic) episodes are about Don Hollenbeck superbly played by Ray Wise. In both cases, what those characters feel is only suggested by the actors' face and gestures. The inner side of Edward Murrow remains enigmatic. As Joseph McCarthy here is stuck in the archive footages, the camera that shoots Edward Murrow and his colleges to lesser degree refuses to go down to the deeper places of their heart.

For me, the best film that deals with this stormy age is much underrated `The Front' starring Woody Allen and after watching `Good Night, and Good Luck' my opinion doesn't change. And I don't share the political ideas that Clooney must have, but still it is true that George Clooney proved his talent as director by re-introducing a page of American history in his original fashion without being preachy.

I understand that 2006 was an unusually tight race for the top films, but Good Night and Good Luck deserved far more recognition than it got. I greatly admired Hoffman in Capote; you could see him creating an amazing character. Then I saw Strathairn playing Murrow, and realized that he was so good you couldn't even see the work being done -- he just fits into the skin of the character and lives there.

I strongly recommend watching this film along with The Edward R. Murrow Collection on DVD. This collection includes an excellent documentary on Murrow ("This Reporter"), and also many episodes of his shows, including See It Now. It also shows very clearly just how well Clooney was able to get every detail exact in this film. At a time when Hollywood feels free to bend and twist historical accuracy to create an exciting film, this movie shows us how it's possible to create an entirely accurate film that also keeps you on the edge of your seat.

Five Stars!