Showing posts with label Michael C. Hall. Show all posts
Showing posts with label Michael C. Hall. Show all posts

Thursday, November 14, 2019

THE REPORT

Adam Driver     Annette Bening     Corey Stoll     Jon Hamm     Linda Powell     Maura Tierney
Douglas Hodge     T. Ryder Smith     Joanne Tucker     Michael C. Hall     Matthew Rhys


     The dramatization of the U.S. Government’s reaction to 9-1-1 is outlined in Scott Burns’ movie, The Report, which focuses on the report prepared by Senator Dianne Feinstein’s Intelligence Committee, delegated to David Jones, one of her aides.  It shows the dogged five-year efforts of Jones to wrest documents from the CIA related to its practice of detention and enhanced interrogation techniques (EITs) to get information about when/where the next attack would be.
     Gathering data for the report was impeded from the very beginning by CIA officials who refused to share most of their files. Adam Driver embodies the Jones character, eloquently expressing his patience, his diligence, and his intelligence in reading and interpreting reams of material amidst all kinds of setbacks.  Setbacks that never came from his boss, California Senator Dianne Feinstein (Annette Bening), however; as deliberate and politically aware as she was she was also clearly aware of Jones’ honesty and capabilities, so protects him and guides him in negotiating shark-infested waters.
     The film charts Jones’ journey, highlighting his findings despite obstructions, the strategic use of subterfuge to make sure the report was seen and circulated, and the horrifying examples (some presented graphically) of what he found, including clear-cut examples of torture. The two psychologists hired as consultants—James Mitchell (Hodge) and Bruce Jessen (Smith)—had no experience in interrogation, at a time when the country had teams of FBI agents who were experts and should have been in charge of the program.  But, instead, Mitchell and Jessen were put in charge, implementing their unproven methods with virtually no checks or oversight.
     It’s sadly ironic to learn that as early as 1978, the CIA had concluded that brutal tactics are not effective in getting detainees to talk; moreover, they typically result in false answers. The report showed that in their desperation following the 9-1-1 attacks, leaders in the CIA willfully ignored its own earlier findings. 
     I think this documentary is valuable in illuminating a part of our government’s history in which major miscalculations were made, hundreds were made to suffer—some to die—and there were proven injustices committed.  It’s pertinent to present-day situations, and one hopes we will be mindful of and remember what we learned previously.
     My difficulty with the film’s presentation is the rapidity with which major players in the drama are introduced (without clearly identifying who they are).  Moreover, some subtitles meant to give the viewer context fly by so quickly, its difficult to see them and simultaneously follow conversations that are ongoing.  Although I think the film is basically a good one, director Scott Burns and editor Greg O’Bryant should have picked up on this during postproduction.  
     Adam Driver is consistently admired for his acting skills in many different kinds of roles including this one.  He conveys the carefulness shown by Jones, as well as his agony when he is being blocked and questioned.  Annette Bening is likewise highly skilled, but not as often recognized for it as she deserves.  Here, as Senator Dianne Feinstein, she captures the politically astute Congresswoman’s quiet, confident demeanor and decisiveness in tense situations, despite trying to navigate successfully through the sensitive politics of the situation.  These two leads are backed up by a strong cast including Jon Hamm, Maura Tierney, Linda Powell, Corey Stoll, Ted Levine, and others.

A real-life drama depicting the reactions of Washington’s politicos to the 9-1-1 disaster. 

Grade: B                                                By Donna R. Copeland

Thursday, October 19, 2017

MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE HOUSE

Liam Neeson     Diane Lane     Marton Csokas     Josh Lucas     Michael C. Hall   
 Bruce Greenwood     Tony Goldwyn     Tom Sizemore     Julian Morris


     FBI agent Mark Felt was profoundly disturbed by his knowledge of the White House’s involvement in the 1972 break-in at the Democratic National Committee headquarters in the Watergate Hotel in Washington, and felt impelled by his conscience to do something about it anonymously.  He had been an agent for 30 years, and was completely devoted to its principles and solicitous of its integrity.  When J. Edgar Hoover died unexpectedly, there was a shake-up in leadership, and because President Nixon and his staff wished to have more control over the agency, they chose to pass over Felt, the #2 man with a spotless reputation, and put in the director’s place L. Patrick Gray, who would be more of an ally to them.

    This was a period of time when the FBI and the White House engaged in a number of clandestine activities such as bugging the offices of political rivals, activist groups, or just anyone it considered suspicious.  One of Hoover’s agents, Bill Sullivan, was especially skilled in these nefarious activities, and when the White House realized he could be useful even after Hoover had already dismissed him, the White House appointed him head of its own intelligence office.
    Soon after this film begins and Felt (Neeson) is passed over for the directorship in favor of Gray (Csokas), Sullivan (Sizemore) is appointed to the White House.  Felt sees this as very bad news, knowing that it would compromise the independence of the FBI.  In fact, the White House was successful in pressuring Gray to suspend the FBI’s investigation of White House involvement in the Watergate break-in.  As he witnesses the increasing erosion of democratic government, Felt begins to use what power he has to expose what is happening through the media.  He was able to keep his actions secret for 30 years.
    With all the secret machinations and intrigue going on in so many areas of the government during the time, this story should keep you on the edge of your seat.  It doesn’t.  Moreover, the story is not well told in the sense that characters are introduced without any explanation as to why they are, so by the end it’s not clear who is who, how they got to be where they were, or any of the intense emotions they must have been experiencing.  The only emotion in evidence is in a side story inappropriately inserted about Mark Felt’s missing daughter. 
    Neeson and the other main characters—Marton Csokas, Josh Lucas, Tom Sizemore—play their roles well; it is the script that lets them down.  Another example is Diane Lane, a fine actress who plays Felt’s wife.  We see brief glimpses of her and can tell she is very unhappy, but little about their marriage and family is elucidated, except, of course, about the daughter, which is still sketchy and seems only an excuse for the filmmakers to introduce some affect into a rather plodding script.
    Director Peter Landesman adapted the screenplay from Mark Felt’s book, which I have not read, but wonder if it is as dry as the film.  I wish I had come away from it with a good understanding of what happened, relate it to present-day events, and feel inspired by Mark Felt’s adherence to principles at not inconsiderable cost to himself.

This film will not give you a clear picture of the events surrounding the Watergate scandal.

Grade:  D                                    By Donna R. Copeland