GOOD NIGHT, AND GOOD LUCK
US, 2005, 93 minutes, Black and white.
David Strathairn, George Clooney, Robert Downey Jnr, Patricia Clarkson, Ray Wise, Frank Langella, Jeff Daniels, Tate Donovan, Robert John Burke.
Directed by George Clooney.
This is a film which invites its audience to think. It also invites its audience to think about the present in the light of the past, especially the mistakes of the past. When we do not learn the lessons of history, we are condemned to repeat them.
The anti-Communist activities of Senator Joseph Mc Carthy of Wisconsin, his hounding of anyone suspected of having Communist links strengthened the atmosphere of fear created soon after the end of World War II and the beginning of the Cold War. The United States turned its back on its wartime ally, the Soviet Union, when the Iron Curtain came down. House Committee hearings on Un American activities were held in the late 1940s and early 1950s which led to the blacklisting of many alleged Communist party members or sympathisers in the public service, the armed forces and the entertainment industry. Playwright Lilian Hellman called this period in American politics 'Scoundrel Time'. Arthur Miller's play 'The Crucible' served as an allegory of these witch hunts.
There have been a number of films on this era including a portrait of Mc Carthy in Tail Gunner Joe with Peter Boyle, of Mc Carthy’s adviser, Roy Cohn in Citizen Cohn with James Woods. Cohn appears in the 1990s critique of the US, Angels in America. The Front and Guilty by Suspicion were films about Hollywood and these times. Journalist and television personality, Edward R. Murrow, was played by Daniel J. Travanti in Murrow. Murrow is now the subject of Goodnight, and Good Luck, which was his signing off phrase for his broadcasts.
This film has been widely acclaimed, David Strathairn winning the Best Actor award in Venice and George Clooney and Grant Heslov winning for Best Screenplay. The film has been directed by Clooney who also appears as Murrow's producer, Fred Friendly.
Good Night and Good Luck has been shot in black and white, symbolic perhaps of the public stances of the times which did not allow for any greys. This enables Clooney to incorporate actual footage of Mc Carthy and the hearings instead of having an actor play the senator. This footage ends with the famous challenge to Mc Carthy by judge Joseph Welch, 'Have you no decency, sir?'.
This 90 minute film confines itself to the challenge made by CBS television to Mc Carthy by Edward R. Murrow. Murrow had built up a reputation for solid and fearless journalism with broadcasts from London during the war. We see his research and legal team at work, the stances of Bill Paley (Frank Langella), head of CBS in the face of political pressure and pressure from the sponsors, Alcoa. We see a television news anchor (Ray Wise) hounded by the conservative press. We see two people on the team (Patricia Clarkson and Robert Downey Jr) who conceal their marriage because CBS rules did not allow couples to work for the company. We see Murrow interviewing Liberace and the entertainer answering questions about his hopes for his marriage. We also see Murrow as a heavy smoker and his endorsement of Kent cigarettes. This reminds us that fifty years ago, honesty and concealment were major issues for celebrities in the public eye but smoking was not.
David Strathairn, a reliable actor who has supported many significant films, is most impressive as Murrow, a man of principle, fearless and articulate. His rendition of several of Murrow's broadcasts remind us of how relevant his stances are today, including his statement that dissent does not mean disloyalty.
Directed with passion but control by Clooney, this is a film both to watch and to listen to
1.Acclaim for the film? History? Relevant to the 21st century?
2.The choice of black and white, the 1950s style of photography, close-ups? Fluid camera work, studios? The clips from television coverage of senate hearings? Authentic?
3.The range of songs, their being used as a chorus, the lyrics and comment?
4.Audience knowledge of the characters, the events? Of Murrow, Mc Carthy, CBS?
5.The framework: the honour and the award to Murrow, Sig Mickelson’s speech, the introduction, Murrow’s speech and the flashbacks? The audience appreciating – but uncomfortable? The focus during the credits on the assemblage for the dinner, the focus on the guests and their talk?
6.The opening of the film, the focus on the guests, the feel for the times? CBS and its history? Celebrities on television? The end, the critique, the critique of TV entertainment as mindless? Analysis – and the reference to Ed Sullivan and Steve Allen being substituted for education programs? Audiences fifty years on? The song about television – 1953 style?
7.The 1953-54 setting, the heritage of the House Committee on Un American Activities? The Mc Carthyist era? Public service and entertainment industry fears? The experience of the black list? Lives and careers being affected? The need for integrity? Power and its use? The fanaticism of anticommunism at the period and fear? The reference to Julius Caesar – and destiny not in the stars but in ourselves? The finale with Judge Welsh and his comment on Mc Carthy’s lack of decency?
8.Television, the role of Edward R. Murrow? His celebrity status, his own integrity, the issues, his stance against Mc Carthy, the two colonels visiting and discussing the case? The interviews with William Paley? The attitude of CBS, the freedom to produce his programs? Alcoa and the sponsorship of the program, the possibility of the withdrawal of advertising revenue? The introduction of the Detroit case and the discussions about programs? The footage of the soldier being interviewed? His being dismissed because of his father’s alleged communist associations, his own views, his sister’s? The interrogations at the Mc Carthy hearings? The focus on Annie Moss, the fact that there were two Annie Mosses, the footage of her being interviewed by Mc Carthy? The senators and their listening to Mc Carthy, the stance of the Constitution and freedom of speech?
9.Murrow on-screen, his program, seeing him at his typewriter, composing his words? The images of Mc Carthy? His comment? Themes of dissent not meaning disloyalty? His comments on the need for evidence, facts being verified? The responsibility of the press? The conservative journalist O’ Brien and his attacks on Murrow, on the news anchor? Offering Mc Carthy the right of reply, the screening of the whole program, Mc Carthy and his vilifying Murrow, the false accusations and Murrow’s explanation? The New York Times journalist saying that Mc Carthy dived into a pool and found that Murrow had drained it? The contrast with his more intimate programs – the visit to Liberace’s house, the discussions with Liberace, especially about his intended marriage and the indication of other cover-ups at the time?
10.David Strathairn’s performance as Murrow, his presence, character, seeing him only as a reporter, not knowing particularly much about him as a person, his family? His discussions with Fred Friendly? With William Paley, with Mickelson? His staff, the affiliates? The group discussions, watching the program, the applause? The footage? His plans? His continued smoking, the whisky, with Paley and the confrontation? His friendship with Don, urging him not to read the journalist, not sensitive enough to the fact that he was suicidal? His short obituary for his friend? The continued smoking – and the insertion of the Kent cigarette ad and Murrow’s endorsement of Kent? The final meeting with Paley, Fred and himself being ousted – and the irony that Mc Carthy, though disgraced, was still in the senate?
11.George Clooney’s presence and style as Fred Friendly, as producer, participation in the discussions, the interview with the colonels, with Paley? The authorities? The bond with Murrow, remaining with him at the end?
12.Sig Mickelson as news editor, as the boss, his discussion with Murrow about the possible sackings and streamlining, his introducing him at the dinner?
13.The picture of the staff, their work, loyalties, suspicions about communist connections?
14.Joe and Shirley, their work, their being together, the fact that they were married, CBS policy not allowing this, the scenes at home, taking off the ring to go to work? The consultation about their leaving – or at least one of them?
15.The role of Mc Carthy, his influence in the United States? Ray Cohn? Roy Cohn as his adviser? The advice given to Mc Carthy about going too far, the senators, Judge Welsh? The investigation into Mc Carthy, his disgrace and condemnation? Lilian Hellman’s referring to this period in American history as scoundrel time?
