sǝuoſ ǝuıɥsunS | notebook, journal, inter-web log

Sonia and I went to see a film together this past weekend. Originally we’d planned to see Capote. But when we got to the theatre somehow it seemed like we oughtta see Good night, and good luck. So we did.

I was expecting to see a film which was more controversial. From what I’d read about this movie I didn’t really know what to expect. Those in praise of the film celebrated the bravery both of the subject and those responsible for producing the film. On the opposite side, critics have slashed at this film for a lot of reasons, but none that hold up. Pale critique like “black and white films are boring” is such a thoughtless thing to say. However, I was aware that the source material for the film was accused of having a skew in favor of journalism, as well as the current liberal and centrist free thinking in America. Not that I’m not among those people, I am, but I am always thoughtful to observe a skew. I don’t want to be patronized by anyone, perhaps least of all by those with whom I agree.

Good night, and good luck is a period piece. It’s subject is the early 1950’s, when the threat of Communism created an air of paranoia in the United States. Exploiting those fears was Senator Joseph McCarthy of Wisconsin. However, CBS reporter Edward R. Murrow and his producer Fred Friendly decided to take a stand and challenge McCarthy and expose him for the fear monger he was. However, their actions took a great personal toll on both men, but they stood by their convictions and helped to bring down one of the most controversial senators in American history. and the result was the birth of the Sunday evening news magazine we now know as 60 Minutes.

Immediately what struck me was the style of the picture. Bold, beautifully photographed in black and white, and draped in the Jazz of Dianne Reeves. The best of the transitional adult world of the post war 1940’s into the progressive 1960’s is framed, presented and perfectly portrayed.

What really grabbed me by the face was the language. Sadly, I imagine that if a person didn’t enjoy this film, it would probably be because the language was so well used, and the person simply missed its beauty, and much of the film’s point. However, I was in awe of the four and five syllable words with which television news and discussion programs presented the events of the day and editorial opinion, and longed for that in today’s blink-of-an-eye sound bites and pre scripted propaganda. The moral conscience of these people was beautiful, simple, and easy. Their seemingly commonplace exercise of values, friendship, and a willingness to do what’s right regardless of advertising revenue, and the frightening political climate of the day was an inspiration.

Now, I know that this was a film, and not a documentary. George Clooney directed it, and cowrote the screenplay. But it was clear after seeing this film that George clooney is far more than a mega star who used to be on E.R. It was clear that this man is the son of journalist Nick Clooney, and nephew to both Rosemary and Betty Clooney. It was clear because this film is not just a visual and verbal feast about politics and conscience. Good night, and good luck is a poem scribed with tenderness and warmth for an era which has all but been forgotten.

We who followed the baby boomers into the world of the 1970’s and later may never fully be able to appreciate what the world was like before the hippies. We hear so much about the flower power and civil right movements of the 1960’s. But to get a sense of the world before Jimmi Hendryx and the Beatles is, I think, an essential look at the seeds of a revolution.

The 1950’s were clearly not all about Elvis, James Dean, and Tab Hunter. The educated, creative, intellectual, and professional communities were reading, writing, and thinking. the world was growing larger, much faster than ever before. This film peeks into the CBS News room with candor, and kindness to show us the fruit of this changing world, and how a handful of people with influence were able to shift from towing the line toward a substantial contribution to provoking thought and justice in America.

While I loved the film, I feel I’m going to need to see it again before I can really say more. I was so immediately swept up and embraced by the look and feel of the picture, the sound of the Jazz, and the beauty of the language that I left without many memories of what was actually said. I simply went to the movies in the afternoon with a friend, and got completely carried away.

It’s so nice to feel that way.