Good Luck to this movie at the Oscars.

Rating: 8/10 (3 February 2006)

In the 1950s, CBS newscaster Edward R. Murrow did what virtually no one else dared. At the height of the Cold War, he objected to Senator Joseph McCarthy's raging campaign against Communism. That's about all many people (such as myself) know about the events, and this movie is here to fill in the holes. "Good Night, and Good Luck" tells the true story of the Murrow-McCarthy confrontation, and the equally interesting behind-the-scenes dilemmas faced by Murrow and fellow news staff.
The passing of time has dulled the accomplishments of Murrow, in large part due to the proliferation of news channels, investigative reporting, and rampant opinions. What Murrow did then could not happen in that way today. Therefore in order to craft a decent film, director George Clooney was faced with the essential task of re-creating the 1950s. In that regard, the film borders on flawless.
With zero exterior shots, the clean black-and-white photography captures the claustrophobic mood of the era better than color pictures would have, similar to the 2000's Clooney-produced, made-for-television Fail Safe. Reactionary glances surrounded by ubiquitous swirling cigarette smoke establish a bygone mindset and time, when cramped newsrooms were the norm, and newscasters who challenged politicians were not. Through these tight quarters the camera chases the actors like their reporters chased stories, infusing energy into what could have easily been a static film.
"Good Night, and Good Luck" won't floor you with its dramatic power, as something like "Million Dollar Baby" did. To use a baseball analogy, this isn't the Mickey Mantle of films, leaving a wake of awe behind. This is the Paul Molitor of movies, always solid but rarely spectacular. When the credits roll, one looks back to realize how well done the previous ninety minutes were. There are simply very few missteps.
Clooney also succeeds where "Syriana" failed, in making an accessible social point that anybody can recognize. While telling its story, "Good Night, and Good Luck" naturally points out how the media landscape has changed in half a century, making one at least reconsider the media's role in the politics of the government and life. Not a life-altering aim, but a practical one achieved nonetheless.
Like its protagonist, firmly and sharply played in Oscar-worthy fashion by relative unknown David Strathairn, "Good Night, and Good Luck" wastes little time or effort, succinctly making its point and quickly getting out. It will be somewhat under-appreciated (and likely won't challenge for the top Academy Awards) due to a lack of overwhelming personal themes and fully developed characters. But in dealing with decisions and consequences of truth, justice, and the American way (sorry), this film establishes a standard of how to effectively and gently make a point while telling an interesting story.
Bottom Line: Short, sweet, and to the point. Well done. 8 of 10.