Though All the Presidents Men and Zodiac are two of the greatest American films without a doubt, they really only have the newsroom in common. What they are about and how they tell their stories are vastly different. Zodiac, you could say, is All the President’s Men jacked up to 11. And even then that doesn’t cover it. Where they are similar is that they are both about men who were secretive. They are both about a trail of clues. They both take place amid typewriters and news briefs, reporters, ledes and headlines. It stops there because Zodiac is a horror film both because it’s about a violent, vicious sociopathic killer and because it is ultimately about the horror of unending deep diving obsession. All the President’s Men is much less complicated. It is about a story and two reporters who relentlessly uncover that story thus bringing down a president. There is a clear line between good and evil. There isn’t a whole lot of soul-searching to be done because there is only the right side and the story of deception. Think of them like World War II vs. Vietnam. Whenever a film comes out about a newsroom comparisons are made to both films — probably it’s inevitable. Spotlight is the latest such movie. The thing about these comparisons, though, is they are nearly impossible to surmount; how can any film stand up to being measured against All the President’s Men and Zodiac? Last year’s Nightcrawler suffered the same fate — critics drag out those tired old cliches like they are in a pitch meeting: it’s Network meets Taxi Driver. Okay but how in the hell is any movie ever going to compare to those films? Either way, Spotlight is dividing critics in early reviews — with Variety giving it a thumbs up and calling it McCarthy’s best film, and Peter Bradshaw and Todd McCarthy a little more iffy.
A rave by Variety’s Justin Chang touches on that and notes the obvious differences:
Even without the onscreen presence of Globe deputy managing editor Ben Bradlee Jr. (John Slattery), whose father famously steered the Washington Post through Watergate, “All the President’s Men” would be the obvious touchstone here. Like so many films consumed with the minutiae of daily journalism, “Spotlight” is a magnificently nerdy process movie — a tour de force of filing-cabinet cinema, made with absolute assurance that we’ll be held by scene after scene of people talking, taking notes, following tips, hounding sources, poring over records, filling out spreadsheets, and having one door after another slammed in their faces. When the Spotlight investigation is temporarily halted in the wake of 9/11, we’re reminded that the film is also a period piece, set during a time when print journalism had not yet entered its death throes. Like the American remake of “State of Play” (in which McAdams also played a journalist), McCarthy’s film includes a loving montage of a printing press, busily churning out the next morning’s edition — a valedictory sequence that may move old-school journalists in the audience to tears.
The story’s newsgathering focus ultimately creates a level of distance from its subject that works both for the film and against it. As information-system dramas go, “Spotlight” doesn’t have the haunting thematic layers of “Zodiac,” and it never summons the emotional force of the 1991 miniseries “The Boys of St. Vincent,” still the most devastating docudrama ever made about child abuse within the Catholic Church. Many of the victims depicted here — like Phil Saviano (Neal Huff), head of a local survivors’ group, and Joe Crowley (Michael Cyril Creighton), who movingly recalls his treatment at the hands of a priest named Paul Shanley — function in a mostly expository manner, offering up vital but fleeting insights into the psychology of the abusers and the abused, but without taking pride of place in their own story.
Here is where you see the film depart from those that came before it:
Where the film proves extraordinarily perceptive is in its sense of how inextricably the Church has woven itself into the very fabric of Boston life, and how it concealed its corruption for so long by exerting pressure and influence on the city’s legal, political and journalistic institutions. Given the blurrier-than-usual separation of church and state, and the fact that the newspaper’s own readership includes a high percentage of Irish Catholics, it’s no surprise that it falls to an outsider like Baron — a Florida native and the first Jewish editor to take the helm at the Globe — to play hardball with the Archdiocese. If there’s anything that keeps “Spotlight” from devolving into a simplistic heroic-crusaders movie, it’s the filmmakers’ refusal to let the Globe itself off the hook, pointing out the numerous times the paper’s leaders glossed over reports of abuse that landed on their doorstep.
That’s clearly the real story of Spotlight that illuminates the much bigger problem — still an ongoing problem — the story of how this travesty has been covered up and forgotten.
Spotlight plays in Telluride over the weekend. Can’t wait.
All the President’s Men, an amazing piece, is one of my most favorite films of all time.
So, naturally, when people from any culture whatsoever, professional critics or else, compare in a good light another film to it, I feel that I need to see it myself to believe in such claim.
Don’t get me wrong; I’m hoping for the best to Spotlight.
I’m looking forward to some reviews — rave or not — of this film, as well.
That’s kinda what it looked like it would be plus maybe the Red Riding Trilogy. I was going to say “hope you enjoy it” then I remembered how it was when all that was going on. It should be a bummer emotionally, but I hope it’s a good cinematic experience. 🙂 ftr, I don’t think it’s been forgotten. A lot of churches around here have closed down because people stopped going. That was the beginning of it.
I, too, am reminded of season five of The Wire every time I read about Spotlight. Glad to hear that the reviews are decent thus far. I’m always interested in films set in newspaper offices, indeed such as All the President’s Men and Zodiac. But girl does Thomas McCarthy have a lot to prove after The Cobbler. What a risible, offensive turd of a film.
Agreed with Jordan, “The Cobbler” threw a major roadblock in my way of going into a McCarthy film with full optimism. Hopefully that was just a Sandler-fueled misfire and McCarthy gets back to his earlier Win Win/Visitor/Station Agent form. Also, a bit of irony about McCarthy making his film….maybe his best known acting role was as sleazy journalist Scott Templeton on ‘The Wire.’
Three big anticipated films (Everest, Beasts of No Nation, Spotlight) already got critical acclaim to some degree. Not a bad start. I assume the movie with the Gravity- or Birdman-esque critical raves will come along in the next few days.
Can’t wait for Spotlight, meanwhile read more true stories of pedophile priests and their victims at City of Angels Blog by a journalist who is also one of thousands of survivors in the USA today http://cityofangels12.blogspot.com/2013/07/pedophile-priest-true-crime-series.html
I like that Thomas McCarthy – according to the first reviews – opted for a dry, understated approach and could resist the kind of cheap shots and cheesy payoffs the material clearly could have provided. I will still watch this on opening day, but boy now I am also wishing something would pop already in Venice : Everest got the “good not great” treatment, Beasts of No Nation right now seems to be in the “respect without passion” zone, and right out of the gate Spotlight is dividing critics. I’m hoping for a film or actor to make a big splash soon, I guess the usual suspects are Redmayne, Vikander, Depp and their respective films although I hope for a BIG surprise … maybe Equals from Drake Doremus (Like Crazy) starring Kristen Stewart and Nicholas Hoult ?
I was really happy when I read Justin Chang’s Variety review, love The Visitor & The Station Agent- but now Todd McCarthy and Peter Bradshaw have tamed down my expectations with those negative write-ups. The Cobbler was one of the worst movies I’ve ever seen at TIFF, I actually walked out and I never walk out of a movie. Still hoping Spotlight will be great.