J. EDGAR

US, 2011, 137 minutes, Colour.
Leonardo Di Caprio, Naomi Watts, Armie Hammer, Josh Lucas, Josh Hamilton, Jeffrey Donovan, Ken Howard, Dermot Mulroney, Zach Grenier, Denis O’ Hare, Stephen Root, David Clennon, Lea Thompson.
Directed by Clint Eastwood.

While younger audiences may not be aware of J. Edgar Hoover and his influence on American politics and society in the 20th century, older audiences have strong views, and most of them not favourable. Which means that going into this film (as may also have been the case with watching The Iron Lady and Meryl Streep’s performance as Margaret Thatcher), they will be critical.

What Clint Eastwood’s film does, with the foundation of Dustin Lance Black’s telling screenplay, is give some credibility to Hoover’s character and behaviour and, to that extent, some sympathy for a man who, especially in the latter part of his life and career, did not merit it.

Leonardo di Caprio is an interesting choice for Hoover and he takes the opportunity to offer an interpretation of the younger Hoover but also of Hoover in his 60s and 70s. His makeup is effective (more than for the way Armie Hammer’s makeup is photographed for the older Clyde Tolson), as the film continually moves from the younger to the older Hoover dictating his memoirs.

The film does indicate the contribution Hoover made to the establishing and the early years of the FBI. From a staunch anti-anarchist (and anti-Communist) officer in the 1920s, Hoover moved towards a crusade against crime in the 1930s, using his agents (whom he demanded be spick and span at all times), his G-Men? against Alvin Karpis, John Dillinger and many others. He also took a deep interest in the Lindbergh kidnapping case, making sure of pictures and headlines (which Tolson later taunts him with, manufacturing an image while he was not as personally involved as he claimed). The film does not explore the 1940s or the black list and anti-communist attacks of the 1950s apart from referring to Joe McCarthy? as an opportunist. It is the latter part of Hoover’s career which is dramatised and his quite malicious surveillance of John F. Kennedy and Martin Luther King. He dies during the Nixon administration where publicly Nixon extols his friendship with Hoover while instantly sending agents to find his private files. To this extent we get quite an overview of his achievement and his failures.

Hoover was quite a rigid character (although prepared to bend the law in later years in his campaigns), righteous as well. However, with his extreme devotion to duty and the protection of the nation, he was immature and undeveloped, especially emotionally. He may not have understood sexuality very well. He did propose to Helen Gandy who declined but never married and stayed his faithful assistant for almost fifty years. Hoover even imagined marrying Dorothy Lamour. However, people knew of his repression and of his devotion to his second in charge at the bureau, Clyde Tolson, who was homosexual.

The screenplay is both reticent and forthright on these issues. It portrays his mother knowing his personality better than he did – and he lived with her for years and took her to social events – and there is a telling sequence where she reminds him of a boy at school who was nicknamed ‘Daffy’ after ‘Daffodil’ and she warns him never to be a daffodil. In this context, his grief at her death has a profound effect. He identifies with her, tentatively putting on her necklace and taking out her dress – which gives a more interesting angle on his alleged cross-dressing.

There are many interesting episodes in the film, anarchist bombings in 1919, the Lindbergh case, the capture of gangsters, Hoover’s confrontation with Robert Kennedy as Attorney General and the news of JFK’s assassination, his anonymous letter to Martin Luther King exposing his behaviour so that he would not accept the Nobel Prize (and Hoover’s disbelief when he does).

Dustin Lance Black’s screenplay (he also wrote Milk) is a portrait of a man as well as of the American times. Clint Eastwood, making the film when he turned 81, offers a measured look at his subject, offering grounds for the audience being critical as well as acknowledging achievement. And the supporting cast is a strong one. A rather self-effacing Naomi Watts is the devoted Helen Gandy. Armie Hammer is the supportive Clyde Tolson. Judi Dench is a surprise choice for Hoover’s mother but, of course, is always impressive.

Interesting, and an opportunity to think about the 20th century US.

1. Audience interest in J. Edgar Hoover? His role in the United States? Law enforcement? Creativity with the FBI? The passing of the decades? Power? His private personality?

2. A popular portrait and general knowledge of him? The film offering an objective look at him and his life, his work? Any bias in the presentation?

3. A Clint Eastwood film, his career, interest in American politics? The screenwriter, his interest in American politics, for example Milk? His interest in sexual issues?

4. Leonardo DiCaprio? as Hoover, as Hoover young, as Hoover old? The cast, the strength of the cast? Impersonating historical characters?

5. Audience knowledge of America in the 20th century, post-war attitudes towards the Bolshevik revolution? Anarchists? Terror after World War One? Crime and the Depression? The G-Men? heroes? As presented in the movies? And the criminals presented in the movies? The development of the FBI, Hoover’s insight into a fingerprint database, his collection of files, his control of the bureau, of the agents, of the way they appeared and dressed? His involvement with many presidents? The file on Mrs Roosevelt? His file on J.F. Kennedy, on Martin Luther King? The assassinations of the 60S? Nixon? Hoover as a 20th century personality, a personality of power and influence?

6. The structure of the film, the older Hoover, his memoirs, the assistants and the secretaries, his appearance, his dictation, fabrication of stories, the effect of the years, his personality, autocratic, relationships, desperate to stay in power?

7. The contrast with Hoover young, enthusiastic, his sense of duty, diligent and ambitious, an achiever, living with his mother, her influence, his niece? His expectations, his setting up the agency, his office, secretaries, with authorities, the bureaucracy, thinking he should marry, the proposal to Helen, rejection?

8. The portrait of Hoover, the influence of the anarchist bombings at the opening of the film, the graphic visualising of the bombs? His ideology, patriotism, never doubting? His establishment of the agency, his response to the authorities, his inspection of the agents, their appearances, his being very strict, moustaches etc? His files, Helen as his secretary, the typing pool, Helen as his long-time associate? Showing her the files, explaining the fingerprint idea? The kiss, her reaction, keeping his distance? Enabling Helen’s lifelong loyalty? His assessment of communism, the transition from the 1920s to the crime elements and gangsters of the 1930s?

9. Crime as his target, establishing the G- Men, his speaking to the newsreel, its screening – and the audience laughing at his speech? Showing the scene from Public Enemy and the audience liking the films about the gangsters? The G- Men and Karpis, Dillinger? The role of Melvyn Purvis? James Cagney as an image, Public Enemy Number One and the sequence, the sequence from G- Men? Shirley Temple at the premiere, Hoover kissing her, the photo opportunity? His acclaim, the contacts, the widespread reputation of the agency?

10. The Lindbergh kidnapping case? The meetings with Lindbergh? His concern? His not having a high estimation of Hoover? The years passing, detective work, the doctor and the contacts, Schwarzkopf and his interventions, his dislike of Hoover? Local authorities? The setting up of the money, the ransom money, the notes, their being cashed? Hauptmann, under suspicion, his car, the arrest – and Hoover featuring? Late explanations that he was not in the photo? His presence at the trial? His joy at Hauptmann’s conviction? The glimpse of Hauptmann as a character, Lindbergh?

11. The various presidents that Hoover served under, President Hoover, Roosevelt, his file on Eleanor Roosevelt? The passing over of the immediate post-war period, Truman and Eisenhower? His dislike of the Kennedys, the files on Kennedy, the confrontations with Robert Kennedy?

12. The film bypassing the blacklist era – the passing reference to Mc Carthy as an opportunist?

13. The 1960s, the different attitudes in the United States, the Vietnam involvement, J.F. Kennedy and his behaviour, his personal behaviour and women, the tapes? The visit to Robert Kennedy, their clash? The assassination of Kennedy, the phone calls from the agents, his phoning Robert Kennedy with the news? His satisfaction?

14. The Civil Rights movement, the role of Martin Luther King, the news footage of the time? The tape about King, his private behaviour? Wanting to thwart his Nobel Prize? Dictating the letter, Helen’s reaction? Sending it anonymously, expecting Martin Luther King to back down, watching the television with Clyde Tolson, King accepting it and Hoover’s disappointment and frustration?

15. Nixon, the clashes with Nixon, Nixon going on television at Hoover’s death, claiming friendship – while sending his agents immediately to find the private files? Helen shredding them?

16. Hoover and his family, living with his mother, the presence of his niece? His personality? The absent father? At home, the traditional lifestyle? Expectations of marriage? Helen, the attraction, in the library, the kiss, the awkwardness? His not understanding his sexual identity? Meeting with Clyde Tolson, setting up the later meeting, his excitement and nervousness, rationalising it later, allowing him an interview? The discussion, his need for Clyde Tolson? Tolson accompanying him and accepting his position as assistant? The meals out, the irony of the meeting with Ginger Rogers and her mother, Anita Colby? Not dancing? His being upset, going to work, Ginger Rogers’ mother laughing at Hoover? Understanding what made him tick? His mother, the long explanation about the boy at school, the name Daffy, short for Daffodil, his suicide? Her saying that she would prefer a dead son rather than a daffodil? Hoover and his life’s control over his affections and sexuality?

17. Clyde Tolson, as a person, bright, his place in society, the social and meeting Hoover, attracted to him, taller than Hoover, ambitious, the interview, accepting the position? Being Hoover’s assistant, ever-present? The relaxation, their enjoying going to the races? Tolson aware of his affection, the arguments with Hoover, Hoover and his suggestions about marrying Dorothy Lamour? The fight, the kiss, the effect on Tolson, the effect on Hoover?

18. The sequences with his mother, her presence, going to the movies with her, the socials, her death and the effect on him?

19. Hoover’s grief, going to his mother’s closet, the jewels, the dress – and giving a psychological credibility to the issue of cross-dressing?

20. Clyde Tolson and his stroke, the effect, in hospital, the visits? Hoover’s health, the doctors, testing them out, the injections? The visits to Tolson, the house, Tolson getting weaker? Their discussions about need and love? Tolson’s anger at Hoover, questioning him about breaking the law, calling him a mean little man?

21. Helen, her presence in the office over the years, always doing Hoover’s will, complete loyalty? Writing the letter against Martin Luther King? Her shredding the private files?

22. Hoover getting old, clinging to power, his foolishness in not resigning and going out in glory? The collapse, the death, the indignity of him lying on the floor, Clyde Tolson and his grief, the tributes to Hoover?

23. The film showing Hoover’s achievement, assessing him as a person, his action, the power for good, the flaws, his power for destruction? Hoover’s heritage and his place in American 21st century history?