The making of Good Night and Good Luck is smart - set in black and white, it is a refreshing sight for eyes sore from the gaudy Moulin Rouge-ish effect. The film is based on the tiff between CBS newscaster Edward Murray and Senator Joseph (You are with us or against us) McCarthy. Almost 15-20 percent footage is actually taken from 1950s, one of the factors which makes the film look genuinely appealing. And David Straitham’s ’ciggy and a slant look’ sets a benchmark of style for that era. A picture is worth a thousand words, and subtly that is how America promoted smoking then.
All said for smoke, style and suaveness. Must say, minute details have been paid attention to. Thorough professionalism. However, the film fails to evoke interest. Has a slow start to begin with. But as it progresses, it does catch the viewer’s attention. Besides, the movie is a bit disinteresting if the viewer does not have enough backgrounder about American polictics in those times. Good night... is sure on the lines of All the President’s Men, but a bit dull in comparison to the latter, which keeps the viewer glued to the mysterious ’Deep Throat’ on the screen.
Also, Good night has an abrupt end. For a viewer who is not really in-sync with the movie, its only when the end credits roll, he realises the movie is over. Worth noting is also the fact that 1950s was a male-dominated time, which perhaps explains why there were hardly any female actors. Good Night is George Clooney’s baby. But onscreen, he looks terribly underutilised as Fred Friendly. And so does Robert Downey Jr, who’s more like a guest actor in this film.