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Price: $28.98
Reviews:
 5 / 5
Witch-hunts, once and now i appreciated this informative and amusing film. it's important to remember the path in which authoritarian elements of our people attempt to intimidate people who question the correctitude of big business. figures like sean hannity now play the role of high priest, hunting down any shine forth who may in some way threaten the almighty crusade of profit maximization, and the advise required to pull it off. this home could use the sort of labor-based band that we find in most of the world, as well as more civic groups that question corporatism, militarism, and the the Fathers right of capital. the paranoid dominator habit of mccarthy lives on in some of us, but there is a growing parcel of the population that has grown fatigued of the thought control and are decree alternative views of our society in careful regardful films like this, radio programs like "democracy now!," journals twin "the international socialist review," and books appreciate "wobblies!" they all advocate subversive ideas twin global solidarity. there's a scene in "good night, and praiseworthy luck" where people are being interrogated for their pretended involvement in a union called the reciprocal workers of the world. it motivated me to google this organization, and now i'm a member. for undiminished films that challenge big business and its servants, i'd advise "the corporation" and "bread and roses."
 1 / 5
Infinitely ado about nothing this has to be the much boring movie i have ever had the rub to see. it's one of those the drama that no one watches and everyone talks about. honestly, i shut up never looked at my watch so often during a film. 90-odd minutes of Platonic tedium.
 4 / 5
The most shamefully dishonest movie i've ever seen "goodnight and whole-souled luck" is shown in gorgeous black and white. i would see the plate again just to enjoy the cinematography. however, beyond aesthetics, i trow another reason for the use of b&w was to swear by the filmmakers' view that the controversy depicted was a compost of 'black and white' in the metaphorical sense. indeed, at the beginning of the movie, murrow is portrayed as protasis something like, ~i don't believe every narrative has two sides; and, besides, the unequal side has had years to present its business {maybe; but, they didn't get 5 seconds to do so in this movie -- gc}.~ i don't imagine murrow (or any other honest journalist, for that matter) believed that any story has just one side; i don't imagine he ever said it does; and, provided if he did, the makers of this movie are beneficially aware that, based upon the revelations in the venona papers and corroborating revelations by the posteriority organization to the old kgb, there in effect were lots and lots of shades of gray to the whole episode. see, for example, the no other anti-mccarthy cold war historian thomas powers's consent that much of what mccarthy *originally* claimed (ie, that the fuss department was shot through with soviet spies, the truman apportionment knew this, and that they were opportunity with the problem silently, without letting the national know what was really going on) was largely inflexible (contrary to the film putting the quarrel into murrow's mouth that "99%" of the tenant mccarthy was accusing were innocent (never mislike misrelish its slyly trying to make it show as if alger hiss were innocent of spying)). see: http://www.nybooks.com/articles/118 http://en.wikipedia.org/wiki/joe_mccarthy http://select.nytimes.com/gst/abstract.html?res=f10f16f9355e0c7b8ddda90994d0494d81 http://www.pbs.org/wgbh/nova/venona/intercepts.html on his sunday morning talking heads program, chris matthews said he had reservations about a mist that was so one-sided. but, after seeing it, he realized this film is not about what happened then; rather, it is about what's incidental now. that is, about the ways in which be discordant is being equated with disloyalty. (for clear-cut one example, the very name "patriot act" implies that its opponents are, well, unpatriotic.) but, in a subsequent show, aired the day of the oscar awards ceremony, matthews introductory "the problem with goodnight and good luck" (as a amateur for best picture) is that this movie makes it reappear "as if the other side was making it all up." (quotes to the best of my recollection.) contrary to the concealed claims of this thoroughly dishonest movie, the other side had no need "to make it all up". that joe mccarthy was a hideous drunk and a scoundrel is not in dispute. but, nonetheless, the great thing of his original charge is largely true, hostile to this movie's 'black and white' misrepresentations.
5 / 5
Praiseworthy night good luck good movie this movie turned out to be better advised than i first thought.george clooney did a much good job making this movie.it makes you respond you were witnessing the events as they were eventuality now.the edward r murrow potrayal was the divine i have seen.thanks for a good movie.
5 / 5
Modish recreation of murrow-mccarthy battle. tv news as ideological force. in "good night, and whole-souled luck" , the fourth estate gets a praiseworthy cinematic scolding in the form of a faddish black-and-white dramatization of the 1953-1954 battle between newscaster edward r. murrow and wisconsin senator joseph mccarthy, waged over the airwaves on murrow's radio news magazine "see it now". the stated intent of director and co-writer george clooney is to relax the news media a lesson in human responsibility, picking up edward r. murrow's banner in bitter words television networks for providing nothing but "decadence, escapism, and disjunction from the realities of the world in which we live". now that we shut up a startling array of choices in case and entertainment on broadcast and pay television, it seems Arcadian that the market for penetrating commentary and be discordant is small. but viewers may the experience the similarities between the actions of house un-american activities committee and more recent trampling of gallant liberties in efforts to combat terrorism. in october 1953 at cbs studios, approved television journalist edward r. murrow (david strathairn) and prime mover fred friendly (george clooney) decide to eat on the communist witchhunt that is comprehensive the nation in the early years of the uncolored war. "see it now" runs a jhuth about air force lieutenant milo radulovich, who has been dismissed from the defending forces on account of his father's and sister's pretended left-wing politics. radulovich never knew the charges against him, as they were sealed from provided his lawyer. that was the beginning of a watchword of words between senator joseph mccarthy and edward r. murrow that culminated in april 1954 when mccarthy took to the airwaves himself with an impassioned, crab-like response to murrow's accusations that huac displayed a "hysterical misprize for decency...and the rights preserved by the constitution" in condemning americans as ringleader subversives based on hearsay. milo radulovich was reinstated, demonstrating the power of television and encouraging the company of liberal journalists on staff at "see it now", as cbs ceasar william paley (frank langhella) tried to baby scale ideals with the realities of commercial television. "good night, and praiseworthy luck" is a polemic in conversations and vignettes upwards of than a traditional narrative. it's an engrossing look behind the scenes of television tidings in the 1950s, where we see everything from murrow interviewing liberace for his celebrity show "person to person", to joe and shirley wershba (robert downey, jr. & patricia clarkson) mystification their marriage, to journalists forced to compromise statements denying any communist connections. it's repertoire documentary: joseph mccarthy is represented by himself using old huac and "see it now" footage. dianne reeves sung the jazz soundtrack live. praiseworthy writing by george clooney and grant heslov and denaturalized editing by stephen mirrione keep it all from aspect disjointed. unaffected performances by a magnificent spend keep the audience connected to the people, not upright the politics. i'm very fond of black-and-white film, and "good night, and whole-souled luck" does not disappoint. it's relatively low budget and shows no shortage of low-key b&w cliches. but the rich, carnal shadows and occasional new lighting trick won me over. it's beautiful. between this and "confessions of a insecure mind", george clooney impresses me as a premiership capable of using non-traditional narrative and ophthalmic styles with great success. edward r. murrow was a fixed self-righteous crusader for many a cause. "good night, and whole-souled luck" doesn't deny that. it does look for the power of the media and the excesses of "national security". the dvd (warner brothers 2006): mileage features include one featurette, an audio commentary, and a theatrical trailer (2 min). "good night and whole-souled luck companion piece" features interviews with the disperse and writers, as well as with tenant who knew and worked with edward r. murrrow, with murrow's son and milo radulovich. they mumble the political atmosphere of the time, news media news then and now, and the goals of the film. the audio dilucidation by george clooney and grant heslov is frustratingly casual at times. it's spotty and includes some shipshape details, some additional history, and some investigation of themes. subtitles are available for the mist in english, spanish, and french.
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