Impressionistic, if too low-key portrait of the Murrow-McCarthy conflict

Rating: Null/10 (3 November 2005)

Despite Director/Co-Star George Clooney's statements that he was not trying to take a point of view, nor directly comment on our current Post-9/11 climate, GOOD NIGHT AND GOOD LUCK, clearly comes across as such. It is not just because we know of Clooney's personal politics, but because the script and the film production make it clear that it wants to portray Murrow as a hero.
The true test of a movie based on real characters and events is not whether they have a perspective we might "agree" with, but whether making it a feature length dramatic (or comedic) film gives us an added insight into the people and incidents portrayed. It is here, that GOOD NIGHT falls short. We really gain little knowledge or get a better feel for Murrow, than we would with a well done straight documentary. Indeed, one might argue that the most interesting parts of this film ARE the genuine documentary scenes which it liberally uses (There isn't an "actor" playing McCarthy at all, but the man himself in archival footage. This adds a film semiotics question which some might want to explore on the efficacy of this technique. For instance: Is it "fair" to have a sympathetic actor play Murrow with 50 years of hindsight? Murrow is photographed in crisp 2005 35MM Cinematography, while McCarthy is seen in grainy 50's newsreel 16MM. Etc. ).
What the film does well are in the acting and production design elements which are both well mounted. You do get a sense of the period and the performances are fine as far as they are allowed to go. Oddly, the screenplay chooses to go more into the personal lives of some of the background characters (such as the Wershbas and Don Hollenbeck) than it does with its lead characters. An odd choice despite some of the symbolism contained in those relatively minor characters.
As a Director, Clooney uses an almost impressionistic style to seemingly just "drop in" on the situation at CBS. It also plays (perhaps not coincidentally, as a sort of updated Live TV Theater version of events - except with much more mobile cameras). The B&W photography, the low key screenplay and direction, and the lack of a true score (Dianne Reeves is used as a sort of background chorus) mitigate against true drama, or even, genuine excitement.
The film is admirable and interesting, but in an almost academic sense. One might argue that Clooney's CONFESSIONS OF A DANGEROUS MIND suffered from a bit too much cinematic trickery, but GOOD NIGHT is weakened by a lack of it.