In a nation terrorized by its own
government, one man dared to tell the truth
Directed by: George Clooney
Starring: David Strathairn, George Clooney,
Robert Downey Jr., Frank Langella,
Jeff Daniels, Patricia Clarkson, Ray Wise |
Once upon a long time ago, I so badly wanted to be an investigative journalist. Now, films about good journalism fascinate me. Especially true stories.
Anyone
who’s reading the news knows the state of my adopted country. It’s not hidden
from the rest of the world. As the US faces its most divisive age in years,
people who know their history hark back to another dark period in the country’s
history.
Back
in the 1950s, a junior Senator from Wisconsin, Joseph McCarthy, made a name for
himself (and a verb of his last name). This was the period when the Cold War deepened
and the fear of the communist threat was rife. While McCarthy did not personally
incite this fear, he stoked it, claiming – falsely, as it turned out – that the
US had been infiltrated by card-carrying communists. He aimed, or so he said,
to root out these hidden communists from wherever they were hiding: the US
government, the military, and other institutions and hold them as a threat to
national security. This policy was soon to become a witch hunt. [For more on McCarthy, read here.]
McCarthy
attacked the fundamental freedoms of US citizens and used lies as a weapon to
destroy them. Against him were arrayed
men who believed in those very freedoms, and who used the truth to vanquish the
senator. One of those men was American journalist Ed Murrow, famed for his war-time
broadcasts from London, who signed off his Christmas broadcast of 1940 with the
words, ‘So long, and good luck.’ Later,
he used the variation, ‘Good night, and
good luck’ as a signature phrase.
After the war, Murrow came back to became the vice president of the Columbia Broadcasting System (CBS), later reverting to being just a newscaster.
These
are the two men who become the unlikely leading men of director George Clooney’s
narrative.
Good Night, and Good Luck. opens with Edward
Murrow’s (David Strathairn) speech to the Radio & Television News
Directors’ Association on October 25, 1958. [Much of the speech is taken,
note-for-note from the real Murrow’s speech at the RTNDA convention.] In it, he
talks about the responsibility of the media, and the innumerable problems that
face the fledgling world of television broadcasting.
The scene then cuts away,
in flashback, to the CBS station in October 1953. Murrow’s
See It Now had aired the sensational
trial of Milo Radulovich, a lieutenant in the US Army. Of Serbian descent,
Radulovich, an American citizen, is discharged from the army because he is
considered to be a security risk. Why? Because his father and sister apparently
hold communist sympathies. [The ‘communist sympathies’ were because Radulovich’s
father apparently read a Serbian newspaper.]
Beginning
with that peg, which is the first of the shots that Murrow and CBS would take
at the embattled McCarthy, Murrow ends that broadcast by saying, ‘…the son shall not bear the iniquity of the
father, even though that iniquity be proved beyond all doubt, which in this
case it was not…’
McCarthy
responds by accusing Murrow of having communist sympathies himself.
This
then, is the event that sets into motion the broadcast that will severely
damage Senator Joseph McCarthy’s credibility, and combined with the concerted
effort from other journalists and broadcasting corporations, bring about an end
to the career of an infamous politician who used fearmongering to suit his own
political ambitions.
Almost
in documentary mode, Good Night, and Good Luck. chronicles the early days of broadcast journalism as seen through the
eyes of Edward Murrow and a hard-working, close-knit CBS staff, including
Murrow’s producer Fred Friendly (George Clooney) and reporters, Joe Wershba (Robert
Downey Jr.) and Don Hollenbeck (Ray Wise), backed by William Paley (Frank
Langella), chief executive of CBS. The
film takes a chilling look at the atmosphere of fear that is created by
focusing on the indescribable threats to American freedoms from persons within
and without. In doing so, it also shines a light on the efforts to muzzle the
press, the relationship between corporations and journalism, and the fine line
between freedom of the press and the balance sheet.
As
both a political drama and a social commentary, the film’s focus is narrow – it
is a short period in American history that is under scrutiny, and even so, only
certain events. It takes for granted that people who watch the film know their
history, and therefore does not spend time explaining its background, or the
real-life characters who people the screen. It is not so much about McCarthyism
as it is about two men (of the many) who worked together to bring about his
downfall.
It
plunges us straight into the claustrophobic confines of the 50s newsroom –
where desks are smack up against each other, and the producer has to kneel out of sight to tap the
newscaster to give him his cues.
The air is thick with smoke and in fact,
Murrow continues to smoke as he broadcasts live. The intensity of getting
breaking news; the hurry to cobble together a telecast, to write on the fly as
it were; the pressures the production team were up against – whether that be of
time, or policy; they underpin the narrative and build up a tension that is
communicated to the audience.
One can, even without much imagination,
understand the dangers that these men faced, as they investigated the most
powerful in the land. The production values are excellent, and the fledgling
days of television broadcast are brought alive on screen. It is a page from
history.
George
Clooney, who also doubles as script writer (along with Grant Heslov), has
meticulously researched the era, the personages, and the events. Clooney also
did well to shoot the film in black & white, keeping in sync with the times
in which the story takes place. [The film was shot in colour, and then
desaturated in post-production.] Where it scores is in being even-handed,
neither romanticising the 50s newsroom [the only women in the newsroom are sent
off on errands; the jazz interludes by a black woman performer (Diane Reeves) are
just that; fillers after every 23 minutes, which was the time of an average TV
show], nor painting the CBS head in shades of black (only caring for his
bottom-line) or white (being the righteous crusader using the power of the
press to bring the mighty to their knees).
The
masterstroke was also in using archival material of McCarthy’s speeches and
Senate hearings. Clooney also used archived footage of other interviews
conducted by Murrow – all these lend a sheen of authenticity to the events
unfolding on screen. The real Milo Radulovich was a consultant on the film, and
hence, his story is the truest on record as the film tells it.
In
a film as intense a drama as this one, there’s enough gallows humour to lighten
the mood. Or darken it, depending on how you take it. When William Paley (a
pitch-perfect Frank Langella), the owner of CBS, invites Murrow to a New York
Knickerbockers game on March 9, 1954, asking him, ‘I’ve got front row seats. Are you interested?” Murrow quips: “I’m a little busy bringing down the network
tonight, Bill.”[That was the night that the McCarthy feature aired.]
Or
later, when the network has difficulty finding sponsors for the proposed
broadcast, Sig Mickleson (Jeff Daniels), the director of CBS News, and Murrow
are talking – ‘We’ll split the
advertising, Fred and I. He just won’t have any presents for his kids at
Christmas.’ Mickleson points out that Fred is a Jew. ‘Well, don’t tell him that,’ quips Murrow. ‘He loves Christmas.’
Or
when [upon hearing that the Times had
given him a favourable review for his attack on McCarthy) Murrow facetiously
remarks: ‘Send the Times a bottle of
Scotch.’ Whereupon Fred laconically responds, ‘I already did; how do you think we got that review?’
That
said, by using Edward Murrow as the arrowhead in the war against McCarthy,
Clooney is only showing us one strand of history, leading to charges of ‘cherry
picking’ facts to suit his narrative. Certainly, Murrow was an astounding
journalist, and had cobbled together one of ‘the finest news staff anybody had
put together in Europe’ during the war. Called ‘Murrow’s Boys’ [even though one
of them was a woman, Mary Breckinridge], they were indeed the best and the
brightest. When CBS began its television broadcast, Murrow’s ‘Hear It Now’ radio broadcast moved to
become ‘See It Now’. One of the
episodes was a report on Senator Joseph McCarthy. As in the film, Murrow used
excerpts from McCarthy’s own speeches to discredit him. He and producer Fred
Friendly put in their own money to produce the show. It is clear that this
programme did much to erode the already-waning popularity of the Senator from
Wisconsin.
But.
Murrow was neither the first journalist to bay for McCarthy’s blood, nor was
McCarthy all-powerful when See It Now
first aired its report on him. Both Republicans and Democrats had already begun
to denounce the controversial Senator, and journalists from the Times had already been investigating him
for months. The Chicago Tribune, the New York Times, et al had been covering
McCarthy, and ABC’s airing of the Army-McCarthy Senate hearings [post the
Murrow show] was the final nail in his coffin.
But
that is a minor peeve in a film that is as beautifully mounted and crisply
staged as this one. It is not just the lighting, the play with light and shade,
highlighting Strathairn’s chiselled features, or the dusty, smoky atmosphere in
which much of the film is shot. It is in the casting, from Patricia Clarkson
and Robert Downey Jr. (in a sub-plot about a married couple who have to keep their marriage
hidden because CBS policies forbade two colleagues to marry each other), to Ray Wise (in another sub-plot
dwelling on the attacks led by William Hearst's newspapers on
journalists who dared to criticise McCarthy, leading to Hollenbeck's
tragedy), Frank
Langella, David Strathairn, and Clooney himself.
Strathairn,
in fact, looks nothing like Edward Murrow; that, however, does not detract from
his performance. He internalises the role, bringing to life Murrow’s
mannerisms, the stillness with which he observed life, the always-lit cigarette
that dangles between his fingers, the sideways glance from beneath his brows,
his uncompromising integrity…
In one scene, McCarthy is shown quoting Shakespeare:
“Upon what meat doth this our Caesar
feed, that he is grown so great?" At the studio, Murrow looks across
at Friendly, and dryly remarks, ‘Had
Senator McCarthy looked just three lines earlier he would have found this: ‘The
fault dear Brutus, is not in our stars but in ourselves...’ ” Murrow will
go on to repeat Cassius’ line at the end of his feature on McCarthy. Murrow is
not God. He does not claim to be; he’s fearless, certainly, but he’s not
without his flaws. In one of the most powerful scenes in the film, Paley points
out Murrow’s own culpability.
George
Clooney, despite being director and writer, keeps himself to the background, a
foil for Strathairn’s Murrow. He’s the man whose unflinching support allows
Murrow to make that crucial broadcast possible. At the end of it, he rues,
neither he nor Murrow may have a job. [McCarthy was famous for his vindictiveness.]
‘But,’ he assures Murrow, ‘we’ll go down swinging.’
Perhaps
the film’s greatest contribution is to the ongoing debate about civil
liberties, and about the responsibility of the press in a robust democracy.
More than a decade after this film was made – and the reasons for making it
were pertinent then – we are facing one of the greatest battles against the
curtailing of our civil liberties. When we sacrifice the very freedoms of other
people that we are claiming to protect for ourselves, then ‘freedom’ loses its
meaning. We need the Press more than ever, a free, fearless Press to be our
watchdogs, to focus on what we need to know, and to hold those in power
accountable.
The
film is bookended by Murrow’s speech (from the beginning of the film) where he
strongly advocates for this new medium’s role in inspiring and educating
people, ending: ‘Otherwise it is merely
wires and lights in a box.’
In
an interview given to Mother Jones on the eve of the film’s release, Clooney
had this to say: The more footage of
McCarthy and Murrow we pulled, the more we realized how prescient this material
appears—not just in terms of the government, but the Fourth Estate, too. He
said he found it stunning how the events of the 50s were as relevant in 2005 (he
was talking about the Patriot Act). It is even scarier to realise that more
than a decade later, it is still
relevant. Even more so, perhaps.
Perhaps
we need to look back to Murrow once again: “We
must not confuse dissent with disloyalty; we must remember always that
accusation is not proof, and that conviction depends upon evidence and due
process of law. We will not walk in fear, one of another. We will not be driven
by fear into an age of unreason if we dig deep into our history and our
doctrine, and remember that we are not descended from fearful men…. We can deny
our heritage and our history but we cannot escape responsibility for the
result. We proclaim ourselves as indeed we are, the defenders of freedom
wherever it continues to exist in the world. But we cannot defend freedom
abroad by deserting it at home. The actions of the Junior Senator from
Wisconsin have caused alarm and dismay amongst our allies abroad and given
considerable comfort to our enemies. And whose fault is that? Not really his,
he didn't create this situation of fear, he merely exploited it, and rather
successfully.”
Edward
Murrow was talking about Joseph McCarthy, but it all sounds dismayingly
familiar, more than six decades later.
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