The movie that became itself

Rating: 10/10 (21 December 2000)

In writing this review, I'm tempted to address it to Don Hewitt and Mike Wallace. The Insider is a devastating film, but I think they are mistaken, if they see it as a blanket indictment of 60 Minutes. It's a blanket indictment of the tobacco industry. I don't think we will ever get to the bottom of what went on at 60 Minutes, with respect to the treatment of the Jeffrey Wigand interview. This movie is a dramatic piece that takes a stab at it, and I think that heaping criticism on Director/Writer Michael Mann is a huge mistake. This film shouldn't be picked at, it should be applauded. The spirit of this film is exactly the same as that of 60 Minutes. I doubt that most people watch 60 Minutes with a notepad in their hands. I think 60 Minutes gets people to think, and hopefully look into issues that are important. I believe that was Michael Mann's goal.
The first issue to tackle is the presentation of Lowell Bergman, former producer at 60 Minutes, as the white knight of the story. There were complaints that Bergman got credit for things he didn't do, and that he didn't quit when they said he did, etc. I'm reminded of the avalanche of criticism that Oliver Stone received when he chose Jim Garrison as his vehicle to probe the JFK assassination. As Michael Kinsley noted at the time, critics assailed Stone for making a hero of Garrison, whom many considered a shameless self-promoter and a man of shaky morals, at best. While this attack was taking place, across the multiplex you could go see Warren Beatty and Writer James Toback's near deification of Benjamin Siegel in Bugsy. I'm tempted to say that it's Michael Mann's dime, so he can pick whatever hero he likes. However, I think the truth is that there was a wealth of information he needed to convey, and selecting Bergman as his vehicle was the best way to go.
The second issue which had supposedly "independent" viewers up in arms was the aura of suspicion, manufactured or otherwise, that surrounded Jeffrey Wigand. This man will probably remain an eternal enigma. Was he exaggerating his claim of being harassed for some hidden agenda? Did he lie about finding a bullet in his mailbox? Did he try to cover up that he stole an electric can-opener?
This second issue is at the core of my argument in defense of this film. Question: Isn't it more important that Wigand, a scientist who worked for Brown & Williamson, provided undisputed testimony that nicotine was being manipulated to bolster it's addictive qualities, than whether or not he stole an appliance at Walmart? Shouldn't people be more disgusted by the laughable testimony to congress by the seven heads of big tobacco (The Seven Dwarves, as he refers to them)?
This movie became itself. It's a story of how many forces there are out in the world that seek to silence agitators. The simple truth is that Wigand, Wallace and Bergman had a story to tell and were crushed by some of these forces. Mann and Co-Writer Eric Roth wanted to tell this story on as big a screen as possible, and they got crushed, too. I'm surprised we didn't hear about how Michael Mann stole some lawn darts when he was in high school, or that Roth missed a Alfa-Romeo payment when he was in college. I hope this irony is not lost on Mike Wallace and Don Hewitt.
It's no surprise that this film (vastly superior to the diverting, but hardly earthshaking American Beauty) was shut out at the Oscars. Kevin Spacey is one of our finest actors, but his character is not in the league of Russell Crowe's work here. Crowe's Wigand, with his birdlike and occasionally irritating behavior, with his egotism, with his intelligence, whoa! This is a performance. Reporters once again had a little fun when it was reported that Crowe didn't invite the real Wigand to the premiere. I guess this Crowe guy must be a schnook. Don't give him the Oscar.
Truth be told, acting kudos go to all involved. Pacino, as Bergman, creates a stubborn character, who's not ashamed of his liberal nature, even when he's in a sea of conservatives. Christopher Plummer's controversial characterization is a delight as well. He gets Wallace's legendary tempestuousness, his egotism and his smarts down to perfection. The small characters are drawn with a sharp eye, as well. Alert to reporters: Mann's wife Diane Venora plays Wigand's wife. Bad news, though, she's a wonderful actress, and she's great here. Sorry.
As the settlements from big tobacco come down, Mann's working on a film about about Ali, Bergman's back working in Berkeley where he belongs, Wigand is up to God knows what, and 60 Minutes chugs on, popular as ever. Memo to Mike Wallace and Don Hewitt: This was an excellent film. Admit it!!