Opinion: Powerful ‘Good Night’ draws modern analogy

Rated: PG

“This basis of our government being the opinion of the people, the very first object should be to keep that right; and were it left to me to decide whether we should have a government without newspapers, or newspapers without a government, I should not hesitate a moment to prefer the latter.” –Thomas Jefferson.

“They that can give up essential liberty to obtain a little temporary safety deserve neither liberty nor safety.” –Benjamin Franklin.

Not bad. But what do you expect from two of the architects of a democracy that has outlasted every other in history?

The strange thing is, nowadays the “media” is being attacked on a regular basis.

The myriad radio and TV shows with a certain “fair and balanced” view are hellbent on terms such as, “the elite media,” “the Hollywood elite,” and simply, “LIBERALS!”

Political commentator Craig Crawford’s book, “Shoot the Messenger,” explores this phenomenon to great effect. But then again, he’s a member of “the elite media.”

Actor/director George Clooney is a member of “the Hollywood elite,” so his movie may not get rave reviews from Sean, Rush or O’Reilly.

But for people who realize powerful movie making when they see it – whatever their political bent – “Good Night, and Good Luck” is as good a film as you’ll find this year. It’s as good a film as you may see ever.

It’s set in the America of the mid-1950s. Post World War II. We’d defeated the Nazis and the Japanese (and even an overt “elite liberal” would agree that this was a good thing), so the time was ripe for a new enemy.

Wisconsin Sen. Joseph McCarthy found one … or many, actually, in the form of Communists. And Communist sympathizers. They were everywhere. In the government. In business. In Hollywood.

McCarthy’s hearings are legendary. They represent one of the saddest, most hypocritically anti-American legacies in our political heritage.

The 1953 news team at CBS – led by Edward R. Murrow and his producers – decided to take McCarthy on.

The powers that be at CBS and the sponsors of Murrow’s shows weren’t happy, but his reputation was impeccable. He had broadcast for CBS radio during WWII and when television came to the fore, he did just as well. He’s the grandfather/godfather/measuring stick that every TV newsperson uses today.

Director Clooney, who also co-wrote the screenplay, has an obvious love for, and understanding of, his main character and the story’s milieu.

The opening monologue – delivered by David Strathairn as Murrow – takes place in 1958, a few years after the film’s main story. The final words of the speech serve as the film’s coda.

The sentiments expressed are not only of historical importance but have relevance to today’s political climate.

In between Murrow’s speeches, the audience is in the heart of the fray.

The black-and-white cinematography of Robert Elswit ranks with that of modern black-and-white classics like “Raging Bull” and “Manhattan.”

The film style fits the times and matches seamlessly with the actual news footage of McCarthy, Roy Cohn (his counsel) and other clips culled from the public archives.

The ubiquity of cigarettes – there’s even a TV spot for the “safest” brand – also speaks of a different time.

Arthur Miller wrote his play, “The Crucible,” as a metaphor for McCarthy’s witch-hunt politics.

The most recent film version of that steered towards other implications – the AIDS epidemic – with as much power.

While “Good Night, and Good Luck,” is an accurate account of a different time in American history, Clooney seems to be speaking metaphorically about today’s political climate.

Uh…don’t quote me on that, OK? I’d never hold up under a hearing …

Jim Wunderle owns Wunderle Sound Services and is a Springfield free-lance writer and musician.[[In-content Ad]]