J. Edgar

J. Edgar tells the story of the man and his agency. J. Edgar Hoover for better or worse shaped the history of the last century as few others have. He was a pioneer in the field of law enforcement a reformer who made the Federal Bureau of Investigation free from political corruption, gave it modern crime fighting methods, and near deity status among the masses. I've always maintained that had Hoover just retired at the end of World War II his historical reputation would be much higher today. But as he points out in this film no one shares power in Washington, DC and few ever give it up willingly.

All this and at the same time being a frightened man, way deep in his closet's closet as a gay man. Most gay folk will tell you now even in this post Stonewall age the hardest part of coming out is to family. In Hoover's case it was his mother played here by Judy Dench who was an imperious Southern bred lady who tells Leonardo DiCaprio as Hoover that above all she does not want to have a 'daffodil' for a son. The gay in him is pretty much repressed until he meets Clyde Tolson who becomes Deputy Director and Hoover's silent partner for decades.

In real life Tolson who is played here by Armie Hammer was something of a stabilizing influence on the real Hoover, many times talking to him or even subtly countermanding moves that would be public relations disasters for the image conscious Hoover. In his life few knew of his role in the agency and fewer in Hoover's personal life.

The other key player in Hoover's life is Naomi Watts as personal secretary Helen Gandy who was that for almost his entire time with the FBI. He tries clumsily to get a romance going, but settles for her just being the woman who kept the secrets for the man who held all the nation's secrets.

Director Clint Eastwood who will make fewer and fewer appearances in front of the camera at his age gets some great performances from his cast in a story that takes up the middle of the American 20th Century. Leonardo DiCaprio is so good you absolutely think you are looking at Hoover himself. Helping in that is one of the greatest body and facial makeup jobs the cinema has ever witnessed.

Henry Kissinger once said of Richard Nixon that he was a brilliant man who might have not fallen or even done the things he did good and bad if he ever felt loved. That could easily have been J. Edgar's story as well. One wonders also if Hoover had been born three or for generations later to see the Stonewall Rebellion in his youth how that might have shaped him as well.

J. Edgar is one remarkable film from the remarkable team of Eastwood and DiCaprio.

Clint Eastwood's boldness and creativity paid off in this excellent portrayal of J. Edgar Hoover's life. A project like that is not pulled off by just anyone, and the fact that a film like that was even made shows the importance of Clint Eastwood. His direction was marvelous, by the way, showing without fear the dark side of the FBI director, but also showing all the good aspects of this very interesting subject. Leonardo DiCaprio is another great reason to watch the film, in one of the most moving performances in his career. His portrayal of a Hoover both ruthless and emotionally vulnerable was superb, and he has excelled once again in studying the character. The make up must also be praised for allowing DiCaprio to portrayal Hoover in many different stages of his life. J. Edgar, if not Clint's best work, is a very interesting and moving film, and the fact that it is so under-appreciated is a mystery to me.

Any movie Clint Eastwood makes is certainly worth a look, and Leonardo DiCaprio is entertaining in anything he does. But this version of J. Edgar Hoover's story seems superficial, and lacking meat on its bones.

That has more to do with its form – a theatrical film only two hours and 17 minutes long - relative to the length of the biography at its core. Hoover was such a complex man, and his career was so long, with so many chapters, that his story is probably better suited to a 4-to 6 hour HBO mini-series, where more of the details of his life, that this film with its short running time can only hint at, can be more completely told.

Dustin Lance Black, who wrote this film's screenplay (as well as that of Milk), is walking a very fine line here regarding Hoover's complex personality; it seems that he had a much more intricate story he wanted to tell, were it not for the confines of the feature film format. Here, broad brush strokes take the place of long chapters on Hoover's involvement with the Red Scares of the '20's and '50's, political blackmail, gambling, organized crime, and of course, homosexuality.

But if it had been made as a mini-series, it probably wouldn't have attracted Eastwood and DiCaprio, and consequently wouldn't have the high profile that this film does. That version of his story will have to wait for another time.

Eastwood chose to shoot this story in a washed-out color palette. The story jumps back in forth in time, and the closer the events of the film are to the end of Hoover's life, the more color Eastwood imbues into the scenes; the earliest moments in the time line are shown in a color scheme barely above monochrome. It's a subtle effect, but it helps the viewer keep track of where the scenes exist in Hoover's life.

That long time line necessitates that DiCaprio must be seen in various makeup schemes to convey the age of his character at any point in the story. His makeup is uniformly good; but the two other principal actors in the film, Armie Hammer as Hoover's longtime companion Clyde Tolson, and Naomi Watts as Hoover's secretary Helen Gandy, don't fare so well as their characters age. Obviously, the lion's share of the film's makeup budget was allotted to the star. Hammer, it must be said, gives a fine performance under all those old-age prosthetics. Christopher Shyer, who plays Richard Nixon in a brief scene, has the least-effective verisimilitude of anyone who has played the man in a motion picture.

But makeup alone does not a performance make. Di Caprio's ability to remain in character and "age" with him is remarkable, and transcends the work of his makeup artist. As he did with his portrayal of Howard Hughes in The Aviator, his skillful use of voice and body to stay true to his characterization of Hoover through the years is evident throughout.

One gets the feeling that much of this film was shot in front of a green screen, no surprise given the various eras of Washington that it depicts; but to a longtime moviegoer, there's a certain sadness that imparts to seeing that technique, once the province of the large-scale action film, used in serious dramas. There was probably no other way to do it in this day and age, but it just calls attention to itself in a way that gets in the way of one's immersion into the subject matter. Admittedly, that's my problem, not the film's.

So, is it worth a look? Sure. Best Picture nominee? In a field of ten, probably. Will Leo finally win an Oscar this time out? Well, look at it this way: Paul Newman gave his best performance in The Verdict, but the Academy finally honored him for The Color of Money. Leo probably should have won for playing Howard Hughes, but maybe he'll win for playing J. Edgar.

The infamous words spoken by Pilate to Jesus of Nazareth come to mind when one ponders the life of John Edgar Hoover. Was he a genius or a tyrant? A patriot or a dictator? A cross dresser or an uptight man with no sex life? Nobody knows for certain, and director Clint Eastwood does not offer a definitive answer to any of these questions, which is exactly as it should be. Life is rarely cut-and-dried, but moviegoers seem to have forgotten that fact in the face of media that state speculation as fact on a regular basis.

I find it not only surprising, but distressing, that a major criticism from those critics who panned the film is the lack of closure on Hoover's private life. Unless they are truly obtuse, they must realize that no film could possibly do such a thing, since his files were destroyed at his own bidding. All is speculation, and a fine speculation it is. Leonardo DiCaprio is superb (as usual) in the title role, never revealing more cards then he chooses to at any given moment. He receives fine support from Armie Hammer as Clyde Tolson, Hoover's Second in Command/Rumored Lover, and Naomi Watts as his endlessly loyal private secretary Helen Gandy. At a time when "red fever" ran high, Hoover's relentlessly tightening control on government investigations is shown in flashbacks that only underscore how supreme power can corrupt even the noblest of intentions.

In the end, the film answers none of the questions that seem so important to the very critics that disliked it, but in my humble opinion, a well made film is one that inspires debate or discussion rather than simply hand down a definitive 'this is the way it was' with an imperious gavel. With "J Edgar", Eastwood and his cast have succeeded well.

Greetings again from the darkness. The best place to start with this one is by saying what it isn't. It is not a documentary. It is not a very detailed history lesson. It is not the best biography of the man. It is not a behind-the-scenes of the FBI. What it is ... another piece of quality filmmaking from Clint Eastwood. It's an overview of J. Edgar Hoover and his nearly 50 years of civil service under 8 U.S. Presidents.

The screenplay is from Dustin Lance Black, who also wrote the script for Milk, based on the story of Harvey Milk (played by Sean Penn). Clearly, Eastwood and Black had no interest in setting forth an historical drama that couldn't possibly be told within a two hour film structure. No, this is more of a fat-free character study that hits only a few of the highlights from an enigmatic man's fascinating career. With so few available details about Hoover's personal life, some speculation is required ... but Eastwood walks a tightrope so as to make neither a statement nor mockery.

Therein lies the only problem with the film. While hypnotic to watch, we are left with an empty feeling when it's over. How can that be? This man built the foundation of the FBI. He instigated the fingerprint system. He armed the secret police. His agency tracked down notorious gangsters. He led an anti-communist movement. He was in the middle of the investigation for the Lindbergh baby kidnapping. He supposedly kept secret files on most politicians and celebrities. He viewed the security of Americans as his responsibility. He was smack dab in the middle of almost 50 years of American history ... all while being a power-hungry, paranoid mama's boy who may have been, in her words, a daffodil.

An elderly Hoover's own words tell his story as he dictates his memoirs. We are told that his memories of these stories are blurred and he takes a few liberties to say the least. He longed to be the comic book hero like his own G-Men. He longed to be recognized for his contributions, even to the point of desiring a level of celebrity. In his mind, he was the face of national security and the hero cuffing many outlaws. In reality, he was also the black-mailing schemer who so frightened Presidents with his secret files, that all 8 of them backed off firing him. He could be viewed as the ultimate survivor in a town where few careers last so long and cross party lines.

The film picks up in 1919 when Hoover is a youngster making a name for himself as an all-work, no play type. That reputation stuck with him until the end. When he was first promoted, he hired Helen Gandy (Naomi Watts)to be his secretary. In one of the most remarkable hires of all time, she sticks with him until his death in 1972. Staunchly loyal to Hoover and totally dedicated to her job, Ms. Gandy helped Hoover with decisions and processes throughout. The other member of his inner circle was Clyde Tolson (Armie Hammer). Tolson was Hoover's right-hand man at the bureau, his trusted adviser, his daily lunch partner, and speculation never ceased on their personal ties.

Judi Dench plays Annie Hoover, J Edgar's controlling mother, who he lived with until her death. She was also his adviser, supporter and probably a factor in his stunted social skills. We also get glimpses of how he dealt with Robert Kennedy (Jeffrey Donovan) and his overall lack of respect for John Kennedy, Martin Luther King, Jr. and Richard Nixon. The Lindbergh case plays a key role because Hoover used it to gain more power for his bureau and increase funding for weapons, forensic labs and resources.

As for Leonardo DiCaprio, it's difficult to explain just how outstanding his performance is. It could have been a caricature, but instead he affords Hoover the respect his place in history demands. The 50 years of aging through make-up can be startling, especially since the time lines are mixed up throughout. His speech pattern mimics Hoover's, as does the growing waist line. There are some Citizen Kane elements at work in how the story is told and how it's filmed, but Eastwood wouldn't shy away from such comparisons.

If you want real details on Hoover, there are some very in-depth biographies out there. The number of documentaries and history books for this era are limitless. What Eastwood delivers here is an introduction to J Edgar Hoover. It is interesting enough to watch, and Leonardo's performance is a must-see, but the film lacks the depth warranted by the full story.