Clooney has said the film, which he wrote and directed, is a tribute to his journalist father, and the care he took in creating a sense of realism is quite evident. Besides the top-notch acting of all the principal players, much credit must be given to the cinematographer and production designer.
Shot in stark black and white, from the very opening scene, you are drawn into the action. They have managed to put you inside the CBS New York studios of 1953.
Watching Murrow's reports and McCarthy's feeble response, it almost feels as though it's happening in the present. The broadcast of McCarthy is authentic and seamlessly paired with the modern footage shot for the movie.
The method in which the music underscores the action was also cleverly woven into the story, enhancing the drama without ever detracting from it.
Jazz artist Dianne Reeves is actually shown in a television studio several times singing hits of the decade.
Her skillful interpretation adds to the plot, and the lyrics of the period songs mesh perfectly with the story.
Strathairn is outstanding in his portrayal of Murrow, capturing his nuances while revealing his flaws.
At one point he is asked, "Are you taking sides?" Murrow was bold and determined, but not unflappable, and one particular scene shows he's nervous about the consequences of the public battle that he's ready to undertake.
Clooney also deserves kudos, having grown from a television doctor who made women swoon to a serious filmmaker with obvious depth and talent.
I enjoyed the film because it worked as both a glimpse of history and a piece of art. Although it is history of 50 years ago, one cannot ignore parallels of how the press and government are still at odds in today's divisive political climate, with the constant charges that the media is alternately too liberal or conservative.
Murrow had an agenda, and pursuing it changed the course of the era, even continuing to today.
* PHILLIP HAIN of Glendale resident is a fan of film.
20051119ialcoakf(LA)Phillip Hain
