Rendező:
George ClooneyOperatőr:
Robert ElswitSzereplők:
David Strathairn, Robert John Burke, Patricia Clarkson, George Clooney, Jeff Daniels, Tate Donovan, Robert Downey Jr., Frank Langella, Tom McCarthy (több)Tartalmak(1)
1953-at írunk, amikor a televíziózás még gyerekcipőben jár és amikor a neves tévés hírszerkesztő, Edward R. Murrow (David Strathairn), egy népszerű ismeretterjesztő hírműsort vezet a CBS csatornán. Emellett Fred Friendly (George Clooney) producerrel karöltve egy napi híreket közlő műsort is irányít. A CBS TV szerkesztőségében állandó nyüzsgés van, Murrow munkáját elhivatott csapat támogatja, melynek tagjai később legendás hírnévre tesznek szert a szakmában, most azonban még karrierjük kezdetén állnak. Egyik témájuk kapcsán társadalmi szintű folyamatok leleplezőivé és előmozdítóivá válnak: Milo Radulovich, az amerikai légierő tartalékosát tárgyalás nélkül bűnösnek nyilvánítják és eltávolítják a szolgálatból. Minden ellene felhozott vádat titkosítottak. Murrow a CBS második embere, Sig Mickelson (Jeff Daniels) tiltakozása ellenére műsorában nyilvánosságra hozza az ügyet. A korszak nagyhatalmú alakja, a wisconsini Joseph McCarthy szenátor, könyörtelen üldöző hadjáratba fogott azért, hogy megszabadítsa az országot a kommunistáktól. Murrow gyanítja, hogy a szenátornak köze van Radulovich elbocsátásához és hogy a vele kapcsolatos eljárás titkosítása a bizonyítékok hiányát jelenti és egyben a polgári szabadságjogok sárba tiprását. Az adás után Murrow-t is kommunista szimpatizánsnak bélyegzik meg. A műsorvezető sejti, hogy az ellene felhozott hazugságok egyetlen célja, hogy csapatát megfélemlítsék. (Budapest Film)
(több)Recenziók (6)
The enjoyment of this film is directly proportional to the viewer's interest (or lack thereof) in the real story of a group of CBS reporters who in the early 1950s systematically stepped on the balls of Wisconsin Senator Joseph McCarthy, whose campaign against the "Red Plague" infamously went down in history for its disregard of human dignity and human rights guaranteed by the Constitution (Charles Chaplin could tell you about it). The inability to adequately defend oneself against false accusations of collaboration with the Communists and the resulting professional problems, such as loss of employment or even, in extreme cases, imprisonment, were all pointed out by CBS, headed by journalistic legend Edward Murrow. A viewer unfamiliar with the name McCarthy is unlikely to be hooked, not only because of the first twenty minutes, full of overlapping dialogue and a barrage of names, but also because Clooney does not show the problem of McCarthyism in its entirety (only a brief illuminating text outlines the historical context), but plunges the viewer straight into the television studio amongst Murrow and his associates as they prepare for a much-watched evening show at the time, in which they point out false accusations against American citizens (there are two cases in particular in the film). The highlight is Murrow's televised duel with McCarthy himself, whose demagogic speech about Murrow is one of the most powerful experiences of the film. The film’s main asset is its authenticity, thanks to the black-and-white cinematography, the period music and the detailed production design, the atmosphere of the 1950s is palpable, and the inserts of period footage don’t feel like a punch in the eye. And perhaps some of you, with the flood of shallowness currently pouring out of commercial TV stations, will smile bitterly at Murrow's final confession of his desire for "explanatory, educational and inspiring television". Unfortunately Ed, that’s a fight you didn’t win…
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Good Night, and Good Luck showed me George Clooney in a light I had not seen him in before. The directing star was able to capture the extremely serious, dry and transpersonal substance in a very sovereign way - the chosen film completely denies high audience attractiveness, but it is handled with incredible prowess. The dry documentary flow of scenes from the CBS studio, where a battle is raging against Senator McCarthy's blunt American patriotism, might seem to lull the viewer, but the clever Clooney brilliantly creates dynamism, urgency and inner tension with minimalist means. Natural acting, interweaving of the film with period materials, and rhythmic jazz inserts, which also comment on what is happening on the screen. The perfect atmosphere of immediacy is exemplary and comparable, for example, to the legendary 12 Angry Men. The film's clear magnet is the captivating and charismatic David Strathairn in the role of the main face of CBS news, Edward R. Murrow. His frugal, yet impressively expressive acting expression and perfect intonation carry the message of the film with incredible targeting and relentlessness. Although the subject of Clooney's film is 50 years old, it has not lost its relevance. The question of the function of television, the question of the role of the individual in the struggle for freedom, and the question of morality, which has to be more than stupid patriotism. All of this is not presented by Clooney as a provocative question mark, but rather as a precise and captivating exclamation mark that irritates the "neo-McCarthy people", and good on him for doing so. I only deduct one star for the occasional imbalance (I really didn't much like the level with the Shirley-Jesse married couple), and also for the fact that the idea had to defeat emotions. Still, hats off to Clooney for the way he handled this incredible filmmaking task.
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George Clooney requires an initial investment from the viewer in the form of some degree of knowledge regarding the Un-American Activities Committee. It is, however, a profitable investment that will pay off with interest in the form of an extremely engaging and high-quality film.
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In many respects, an exceptional film that can be considered a political timeless manifesto of liberal and democratic values, freedom of speech, and association. This intimate drama deliberately devoid of any potentially disruptive entertaining elements subordinates everything to the impression of period authenticity and the content of the message. The director attempts to create a timeless allegory of the eternal conflict between abstract democratic ideals and the down-to-earth exercise of political influence exposed to the temptation to abuse concentrated power, through the conflict between a courageous journalist and a populist politician of one era. The film is in black and white, it is measured and has civil acting without star mannerisms, and attempts to capture the atmosphere in a documentary way. The film is dialogue-based and requires an attentive viewer. Overall impression: 95%.
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It is true that the more the viewer knows about McCarthyism the better for him, but I would say that even an ignorant person can easily like Good Night, and Good Luck. The film has a very good atmosphere (the black and white cinematography plus great music works wonders), a "chatty" but fun script, sensational and balanced acting performances... I round up four and a half stars for the omnipresent believability. Clooney rocks even behind the camera.
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Confidently elevated filmmaking that establishes smoothly developed themes in a relentless rhythm and introduces characters that generate sympathy without deviating from the constant development of an informative working plane. It's not exactly the Mecca of my interests and the ending doesn't leave a very impressive educational punch, but from a purely formal point of view, there's nothing to complain about (especially the play with space and the transfer of focus gives the scenes an exemplary dynamism and freshness). Oh, and David Strathairn is definitely the most underrated actor of the past two decades.
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