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“We must always remember that accusation is not proof and that conviction depends upon evidence and due process of law.” – Edward R. Murrow
 
Communism: a theory that advocates elimination of private property and/or a doctrine based upon revolutionary Marxian socialism where a totalitarian system of government provides a single authoritarian party that controls state-owned means of production with the aim of establishing a stateless society (thanks, Webster’s New Collegiate Dictionary). In other words, it’s the virtual opposite of a democracy. In the early part of the twentieth century there were some small groups in the United States that advocated that alien system of government, much to the dismay of many Americans understandably satisfied with democracy.
 
It’s the early ‘50s, a fearful time during the cold war.  The Soviet Union is a nuclear power diametrically opposed to American values.  Espionage and political subversion are real threats.  But instead of peacefully debating the issues or calmly exposing miscreants with rock solid evidence and giving the accused a chance to defend themselves, the strangely enigmatic Senator Joseph McCarthy (evidently an interesting subject himself) explosively accuses an alarming number of people of being communists and ruins their lives. Many were not involved in communism, nor were they even interested in communism. Regardless, even the most vague and tenuous relationship between a completely innocent person and someone who merely may have attended a single, solitary meeting of a communist organization many years before could destroy the life of the innocent when McCarthy leveled one of his fiery accusations. A “security risk” is how he characterized his targets. Hysteria grew. Careers and lives were destroyed.
 
Respected CBS television anchorman, Edward R. Murrow immediately recognizes McCarthy’s near-irrational fury. With the exploding popularity of television, Morrow decides to leverage his high-profile exposure on CBS, exercising his journalistic muscles to challenge McCarthy’s tactics. He even calls for the accountability of the United States government. It becomes his crusade, highlighted by scathing editorials. His campaign sends seismic shocks through CBS, the news media industry, and the public.
 
Writer/director George Clooney grew up watching his news anchor father, Nick Clooney, perform, so he comes by his interest in the news media naturally.  He was fascinated by this film's watershed historical drama that unfolded nearly a decade before he was born. And it’s certainly a powerful story worth revisiting. In the early ‘50s, with only two or three television stations available in each household, the nightly news was a powerful force, one that the American public relied upon for the truth. That knowledge adds gravitas to the behind-the-news-scenes portrayed in the film: reluctant CBS sponsors responding to Murrow’s political stance; two military Colonels barging into CBS offices making threats; bits of ironic humor; the exciting newness of a television studio; last-minute crises; and, the semi-starched attitudes of the time. You may think you’re familiar with movies based on the news studio (Up Close & Personal, Broadcast News, Network), but they pale by comparison; in this film, the big boys really play hardball. And that it’s based on historical events adds an undeniable visceral impact.
 
You might not know that Good Night, and Good Luck was filmed for the modest budget of only $7.5 Million (it earned over $30 million domestically); it’s all up on the screen. the film is a Clooney tour de force; in addition to directing and co-writing, he also co-stars in this wonderfully lit, black and white film with a simple approach to familiar compositions. Clooney is ably assisted by accomplished director of photography Robert Elswit (Magnolia, 8 MM), who helps add style. You’ll notice simultaneous foreground and background activity coupled with interesting angles that help draw viewers into the scenes. Elswit sometimes varies the camera’s focus or non-focus among shots, which tends to create tension. Following dialogue, Elswit’s camera lingers just enough to catch the actors’ silent nuances; I’ve always enjoyed that quirky effect. The production design by Jim Bissell is impeccable. The editing by Stephen Mirrione (Ocean’s 11, Ocean’s 12) is enticingly rhythmic; he blends authentic newsreel footage of McCarthy into the film seamlessly with compelling results. And the jazzy music sung live within the film by multiple Grammy winner Dianne Reeves adds an appealing, classy dimension.
 
The actors are uniformly wonderful. One of my first reactions was great relief that the producers didn’t succumb to the temptation of hiring inexperienced yet high-profile young actors to lure a younger crowd into the theaters. The adult actors are clearly attracted to the power of the script and were possibly drawn to the show by their friendships with Clooney; but they skillfully invoke a sense of life experiences and world-weariness in their news reporting roles. Younger, less experienced actors would fail to deliver. David Strathairn as Edward R. Murrow is outstanding and pitch-perfect; he channels the respected newscaster.  He’s unquestionably a worthy Oscar contender. I enjoyed the simmering volatility beneath Ray Wise’s expressions; as one of Murrow’s news anchor contemporaries, Wise keeps things off balance. Frank Langella (Dracula) provides deep traction as the conflicted CBS executive, William Paley. He maintains a delicate balance between accurate journalism and responding to the pressures applied by both government and sponsors. And it was nice to see the versatile Jeff Daniels playing a heavy without going over the top, as he has in other recent roles; he gives a strong, uncompromising performance.
 
I’ve always enjoyed quirky Robert Downey Jr. (who looks much younger than usual in this film), chin-down-eyes-up George Clooney, and the reliable Patricia Clarkson.  Here they project sincerity, charisma, and interact with others quite convincingly; they genuinely seem to connect with the story and their respective roles. The downside is that these three actors seem to be playing themselves. They are solid, I enjoy their onscreen performances, and I believe them. But I would have liked to see more of a stylistic change in their talking, expressions, and body language, something that would depart from their usual personas.
 
I’m aware that the film has been criticized slightly for not providing more character back-stories or character pathos, which might keep a viewer from becoming emotionally engaged with the characters. That may be a fair argument, but I feel that Clooney took the right approach by going directly after the core subject matter, how we as a society react, and how it can affect us all. Beyond the issues of communism, ultimately Clooney wants to provoke more “discussions about the responsibility of journalism.” Indeed, as Murrow said, “We cannot make good news out of bad practice.”
 
Rightfully nominated for multiple Academy Awards including best Director, Best Actor, Best Original Screenplay, Best Art Direction, Best Cinematography, and Best Picture of the Year, this film makes you think, and I think you’re going to like this film. It is not to be missed.

The Video: How Does The Disc Look?
 
This film’s original 1.85:1 aspect ratio is presented in black and white anamorphic video. According to the audio commentary, the film was not captured for a broad widescreen presentation like 2.35:1 or 2.40:1. Clooney felt that the film shouldn’t be “cinematic” and fought the pressure to make it so. He compromised with spherical optics and composed for 1.85:1.  The result always looks great, even with the noticeable use of long, zoom lenses. Modest grain is visible but gives the film very pleasing traction. The black and white is a pleasure and works extremely well in the context of the era’s black and white television. Finely grained details like skin pores, stubble, and the clothing fabric weaves are readily discernable.
 
Contrast ratio, critical for a film like this, is very good with sharp, clean whites and very deep blacks that don’t quite reach the lowest possible levels.  Contrast gradients look very proper, as do the gray levels for skin tones. The consistency keeps the film feeling alive. Extremely minute artifacts or specks are discernable if one looks very closely; I saw them only when I made myself look for them. Viewers with large displays may notice them more readily. That’s my biggest nit-pick. The entire film looks very sharp and as pleasing as it should.
 
The Audio: How Does The Disc Sound?
 
The audio is presented in Dolby Digital 5.1. I was surprised that this was such a front heavy mix. The surrounds are nearly lifeless, and I came to the conclusion that this was probably intended to give the film a more authentic feel of the mono ‘50s television audio. That’s understandable and reasonable, but I still feel like the shuffling, crises-driven newsrooms would have been more enveloping and dramatic with the surrounds engaged.
 
Virtually all the dialogue is recorded very well, which is critical; however, it didn’t have the utterly crisp snap that I was hoping for. Perhaps this made the voices more realistic and potentially less like a overdub. Frequency range is very good, but there’s not much deep bass. And since many scenes are indoors, we don’t get any of the airiness an exterior scene can provide. The score is pleasing and takes a little more advantage of the dynamic range, but not as much as I’d expected.
 
There are some stereo effects among the front speakers, but without much imaging. I became curious and listened to the film with headphones to find that there seemed to be discernable discrete stereo effects, but they were minor. Overall, it’s hard to find fault with the audio; I think its style totally reflects the filmmaker’s intent. But I still feel they could have been more aggressive without losing respect for the era.
 
No other audio options are available. Subtitles include English and Spanish. English Closed Captions are also included.
 
Supplements: What Goodies Are There?
 
Good Night, and Good Luck. Companion Piece featurette (15:04) includes interviews with a jittery but forthright Clooney, the cast, and Morrow’s relatives and co-workers who helped as consultants. Much behind-the- scenes footage is here, and while some of the information is reflected in the audio commentary, there is some information that is not. Fans of the film or of this story will certainly be delighted by this engaging report from the set. I was a little frustrated with the lack of recognizable people being interviewed; I didn’t know half of the people onscreen.
 
A feature-length audio- commentary is by screenwriter/director/actor George Clooney and producer/screenwriter Grant Heslov. The two have been friends since 1982. George Clooney tends to be somewhat aloof during interviews, but he’s quite serious about this film. He offers many details about the shoot, frequently overshadowing Grant Heslov. To his credit, Clooney also cracks jokes throughout the film; his droll self-depreciation includes some unflattering shots at himself during which he repeatedly says, “that’s me, formerly sexiest man alive in 1997.” This is hysterically ridiculous . . . and he knows it. The commentary is a balance between the technical and the story’s politics as they are discussed and attributed scene by scene. Clooney and Heslov don’t get off track like Ridley Scott does in his commentaries. Clooney offers many compliments to the cast and crew; this is a man who is secure enough to properly share credit. Those interested in this film and its underlying history will find this commentary very enriching.
 
Trailers include: Everything is Illuminated, the intriguing Paradise Now, and Good Night, and Good Night.
 
The DVD contains 22 chapters.