Good Night, and Good Luck Review

Had George Clooney's sophomore directorial effort been made for HBO or network TV it would be hailed as one of the all-time great made-for TV movies on a par with say Angels in America or Roots or Brian's Song. The film has a great look thanks in part to ace cinematographer Robert Elswitt. The black and white manages to recall the fifties television milieu of the film, and also helps drive home the stark sincerity of Clooney's intentions. The worst thing that can be said about the film is that it is very modest and straightforward. This is the kind of film that history teachers will be showing to high-school classes for a long time. There are no wasted shots. The performances are strong across the board, but it is David Strathairn who shines as Edward R. Murrow. His Murrow is a stoic, principled figure who doesn't even crack a smile during the course of the film, But Strathairn, really one of the best actors we have, understands the power of a subtle gesture when it comes from a person who gestures very little. He reveals the turmoil he is experiencing inside with merely the raise of an eyebrow. Not that he needs it, but this is the kind of performance that will keep an actor working in films for a decade. From his public life and his directorial career it is apparent that Clooney is turned on by show business and politics. This film is less ambitious than his debut, Confessions of a Dangerous Mind, but it is certainly a better film. As long as he continues to balance his fascinations with show business and politics, and continues to offer up examinations on where those two powerful strains of American culture interact, Clooney should continue his growth as a smart and interesting director.