Dominick and Eugene
Dominick and Eugene is quite homoerotic. Italian American brothers Dominick (Tom Hulce) and Eugene (Ray Liotta) invade each other’s private space, an exaggerated motif on the brothers’ co-dependent relationship. These moments come when both are happy, before the movie’s main dilemma arrives.
It’s also unconventionally cast. This is probably typical of most early entries within certain actors’ CV’s, when agents or even the actors themselves didn’t know in what niche they fit. Besides, this came within Liotta and David Strathairn’s careers before Goodfellas and Good Night and Good Luck. Nonetheless, the main players are convincing in their parts in a movie that tests their versatility. Hulce is a sanitation worker whose developmental problems make no one jealous of him. He’s also into pop culture stuff like The Hulk, Charlie’s Angels and Wrestlemania. He pays for the medical school bills for Eugene, a medical student who tries to keep his family together. Jamie Lee Curtis is Jennifer, Gino’s relatively supportive girlfriend type who cooks for both men. The three learn to have a dysfunctional yet tolerable coexistence, Gino’s plans eventually involve a practice in Stanford without having to take care of Nicky. But Strathairn’s character, a long-haired, moustached working class man within the neighbourhood, enters their lives and drives Nicky into a nervous breakdown. Heavy on conflict, it’s respectful about portraying people of special needs and capably incorporates subtext that make this movie an interesting find.
Good Night and Good Luck
Clooney’s directorial piece Good Night and Good Luck begins, the stars of this film as glamorous as they would be on an awards show in reality, the saxophone playing in the background. A man introduces 1950’s television news anchor Edward R. Murrow (David Strathairn). He makes a speech towards his colleagues and people who work in the television industry, but when the camera cuts to them, it doesn’t look like he’s preaching to the choir. But that’s not such a bad thing.
And fine, while we’re at it, I’ll admit that my first encounter of the film is through the “Simpsons” parody, Kent Brockman becoming our century’s Murrow as Lisa eggs him on. This is probably how we first experienced other movies, knowingly or otherwise.
ph. Warner Independent Pictures
Did you know that the real Edward Murrow looks less Strathairn, and more like Harry Dean Stanton. Murrow would have been a perfect role for Stanton in the 70’s. But surprisingly, I don’t remember any anti-McCarthyism in films, not even with Hollywood class president and lefty extraordinaire Warren Beatty making controversial films like Reds.
The double threat taking Beatty’s place is George Clooney, and don’t worry guys, I’m heading somewhere with this tangent/segue. There was this CINNSU/ Bloor Cinema alum who once told me that Clooney wanted to direct a remake of Network. The word ‘remake’ seems like a pariah even to people who aren’t film geeks, but as the alum said something like, ‘Paddy Chayefsky’s like Shakespeare, why not?’ I wish the rules of cinema bent like that too. I suppose the closest we can come to seeing a remake of Network is Good Night and Good Luck, the story of Murrow combating McCarthyism and its abuses through televised journalism. And we’re back!
There are many differences between this film and its predecessor. The man in front of the camera is sane even if the world or the institution controlling it isn’t. Howard Beale is a deluded puppet while Murrow is a leader who still writes his pieces. Strathairn, in his best role yet, delivers perfectly, mastering the elocution that the real Murrow and gentlemen of his time might have had. Here, the fictional Murrow goes head-to-head against the real Joseph McCarthy, the menacing figure on the upper left side of the screen, the latter’s own words and pictures used to defame him. He gets criticized by some newspapers as ‘selective,’ but Murrow’s integrity stands strong.
In this scene, both Murrow and McCarthy quote “Julius Caesar” like many do with the Bible, choosing lines to further their cause. The Shakespearean play is about an unnatural shift in power, deceit and constancy, that latter quality being something that McCarthy doesn’t have.
CBS begins an investigation piece on the firing of US Air Force Officer Milo Radulovic – who is Irish, apparently – because of his father’s suspected Communist affiliations. The film uses authentic newsreels of the accuser and the accused, this one being rough looking but eloquent. Murrow, then, and CBS seems to have chickened out by doing celebrity profiles. An insipid few minutes with Liberace becomes subversive once we remember that ‘he doesn’t intend to marry soon.’
But don’t worry, the Air Force will retain Radulovic.
‘I’ve got my eyes on you/I’ll set my spies on you/Keep your eyes on me.’ As if she’s agitating the enemy, whispering sweet aggression to his ear.
The racial politics in Good Night and Good Luck are muted, the black woman doing her numbers in between the skirmishes where the white men fight for her constitutional rights. The actors doing the fighting, however, seem to be suppressing the outrage they would normally have if their names and the names of their friends are stained by Cold War paranoia. This film’s tone is less bombastic and more quiet. No dramatic music, no hammy speeches, nothing. But instead of a breathtaking experience that most great films should give its audience, its tone is its own, feeling like a last slow dance in the middle of the night.
TIFF: The Whistleblower
The Whistleblower doesn’t start with our lead, police officer Kathryn (Rachel Weisz), but with Luba and Raya, two local girls in the Ukraine partying it up. Luba tells Raya that she can get out of the latter’s job at her mom’s photocopying place and join her to a hotel job in Central Europe. And you already know where this movie is going.
Based on a true story, in trying to earn money in a short time, Kathryn’s doing peacekeeping in Bosnia for a British contract company called Democra, her family’s in the States. Kathryn thus has a strained relationship with her children, the eldest of whom is as old as the girls being trafficked. She has to be reminded of how ‘not motherly’ she is. Apparently saving young girls from pimps isn’t motherly. The tribulations in Kathy’s Bosnia occupies her mind so much, she and the audience sometimes forget about home.
I’ll stop yelling at my iPod now, where I’m writing this section of the review. Yelling not because of the movie but because of the jerks stopping Kathryn from helping these girls. The peacekeeping forces are a man’s world, most of them are demons but it would seem fictional if they show a vulnerable side. Besides, she only has one female ally (Vanessa Redgrave) out of the handful of female characters in the film. Yes, we still are unaware of ever so prevalent human trafficking. The film tackles the material with impact-filled storytelling – that’s all we ask for. 4/5.