In 1958, a time when no one - especially not the media - dared question Senator McCarthy’s witch-hunting tactics for fear of being labelled a communist or communist sympathizer themselves, CBS broadcaster Edward R. Murrow (David Strathairn) ignites a feud with the Senator on national television. Driven by his desire to enlighten the audience, Murrow, together with his loyal CBS colleagues Fred Friendly (George Clooney) and Joe Wershba (Robert Downey Jr.) defies corporate interests and openly questions the Senator’s scaremongering methods within his news show “See it now”. When the Senator retorts by accusing Murrow of having communist ties himself, Murrow’s superiors at CBS start withdrawing their confidence in him. But even when faced with the prospect of “See it now” being cancelled, Murrow stays true to his ideals.

George Clooney showcases once more that he is far more than the irresistable lady’s attraction he is often reduced to. Not only does he regularly star or co-star in films of a wide array of interesting subject matter, he also actively helps getting promising indie-film prospects out there through his venture ‘Studio 8′ (a collaboration with the equally gifted Steven Soderbergh, amongst others), and he’s successfully made the transfer from in front of the camera to behind it. Clooney has chosen a historical moment in modern journalism by recreating the real-life feud between Edward R. Murrow and Senator McCarthy in his second directorial effort (the first film he shot being Confessions of a Dangerous Mind).

Clooney also reserved one of the larger supporting roles in the film for himself, playing Murrow’s closest ally Fred Friendly. Next to himself and Strathairn, Clooney has managed to employ an impressive cast that includes Robert Downey Jr. as the charismatic but wavering Joe Wershba, Patricia Clarkson as Wershba’s wife and CBS secretary Shirley, Jeff Daniels as the news executive Sig Mickelson, Frank Langella as CBS’s CEO William Paley and Ron Wise as Don Hollenbeck, a fellow news commentator. The cast perfectly bring across the tension and anxiety prior to the dissident broadcasts being aired, as well as the post-show pride and ecstasy, and the friendship and loyalty that was the basis for their extraordinary display of civil courage. But it is Strathairn who stands out with his very determined and responsible portrayal of Murrow, one that has seen him included in just about every Best Actor list of the current award season.

What really makes this film not only a strong, but also an important cinematic achievent is the subjects it touches upon, and the manner in which it does so. As a student of media studies, I could only marvel at the points Clooney’s film raises, fundamental questions about the conflicts in objective versus subjective reporting (the X-Realms staff will attest that this subject strikes a particular note with me), corporate interests versus moral responsibilities, politics and policies versus ethics, entertainment value versus news and education, and the problem of institutionalized and sponsored media. Are there always two balanced sides to a story? Where is the line drawn between commentary and propaganda? Is it in your right to speak out against a legislation that is simultaneously also responsible for putting you on the air in the first place? Are audiences more interested in the homes of celebrities than in being educated about happenings influencing them now and in the future? Do we form our own opinions, or are the formed for us?

Where Edward R. Murrow makes a stand and takes sides, Clooney as a director, interestingly enough, doesn’t. Strathairn’s character isn’t exactly played up to be the person we root for; we’ll grant him our sympathy, yes, but Murrow isn’t sentimentalized, we’re not privy to his background and his struggles apart from what relates to his work. Clooney interweaves his film with real footage of Senator McCarthy’s television appearances, and the entire movie is presented in black and white, further underlining the director’s objective, almost documentary approach. Clooney refrains from moralizing storytelling or condescending the audience, which is quite appropriate, as the pictures and words speak quite for themselves. You won’t find any answers in the film, because none can be given within it. But Clooney reminds us that these questions still need to be asked today.

Good Night, And Good Luck isn’t a spectacular film by any means, nor should it be. There is no intricate plot-twist, no real climax, but nor need there be. Instead, it is an engaging, reflective and intelligent addition to the very important media discourse, which is timely today still. It is also an important echo of Edward R. Murrow’s warnings about the dangerous sides of media, warnings too few of us have acknowledged, complex problems relating to the very nature of our societies that we may not have even been aware of. And in light of this all, Good Night, And Good Luck deserves to be applauded.

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