I Seat Dune Buggy Plans

Good Night, and Good Luck

It's easy to say what is this film is not great.

is selected to participate in the main competition of Venezia62 and after the first run of the press raining compliments for all the work around the figure of Murrow.
Fortunately, the film was well publicized without giving too much weight to the person of Clooney, to which no one seems to have spared no praise for confirming to be able to match its image to a mind engaged.

Jumping small premises and considerations, cmq I agree, "Good Night, and Good Luck" is a film that fulfills perfettemante his task, ie show the best journalism (either TV or not does not matter) , and the best use of the instrument and television.
In an era of decidedly improper use of the mass medium par excellence, Clooney gives his point of view with a different spirit from that of Moore, but with the same intention to inform the conscience. Can you? Yes, because when you leave the room (but also during playback) the comparison with the lack of investigation in the Italian TV, but especially compared with the state of journalism in Italy, it is inevitable and depressing.
To do this the director makes us here and now in the difficult mechanisms of programming a week ("See it now", as it happens). The film and television program, television journalism is using the film medium aplificare for himself and not talking about a documentary, but something that is very similar. The atmosphere has been written anywhere, is that of a news program of the '50s to become prefect of the universe in which everything happens. So the whole story and all characters, including the protagonist, assume an air of unnatural, are made of the same field of television, are the soul of the TV, and this does not seem quite real, but suspended in a dense, static representation of the concept of television journalism very oral, radio.
Faces, gestures, details are immortalized, carved by the admiring gaze of George Clooney who shows that he has learned the lesson of his father. Thus offers us one of his lessons very well built with great skill players, with a very compact script, one look and almost hypnotic sensual ear (that of cigarette smoke, and reassured the Jazz that fills with the mother's voice) and above with an excellent use of real movies that relate to processes and McCarthy. The game between fiction and reality is successful because the film relies more and more thin in this building in the real addentrante through the most appropriate use of tools of convenience.
But this atmosphere is just unreal, rigid, static, dead, with passions that can really stand out and break, which makes the film great, but just nice / fair. Edward Murrow is breathless, yet the sound of his voice survives his image of Clooney, just this amazing person is to emphasize the message that the body-most Murrow Murrow. No coincidence that he has done is already done when the film begins and ends with the speech a few years later. Despite everything the aesthetics of the television is not the triumph of the film as it should, instead remain in balance without ever afford to do so sharply that we remember for a moment exemplary.