Good Night, and Good Luck.

I don't know where to begin. If one judges a film by its ability to literally transport the viewer to another time and place, this film succeeds. If one judges a film by the cinematography, the composition of the scenes, whether the characterizations are well drawn, this film succeeds. If one judges a film's merits on integrity, truthfulness, honesty, this film succeeds. Good Night and Good Luck captures a moment in time.We look back on the fifties as a simpler time, our period of innocence. This film tells us straight and true that it was no simpler and no more innocent than our lives today.In fact, the sharpest contrast drawn between today and back then is the intelligence and the literacy, the erudition and the commitment to the tenets of good journalism of Edward R. Murrow and his crew.I cannot picture a Brian Williams or anyone else telling the owner of the network, as Murrow tells Bill Paley, "I can't make it to the game tonight. Thanks for inviting me, but I'm busy tearing down your network." A flawlessly executed film, the acting ensemble well cast, the point clearly and eloquently made, this film should be nominated for an Oscar, a Golden Globe and anything else that's out there. Thank you George Clooney. Your father is correct. "You got it right." Thank you Steven Soderburgh. Thank you, Mr. Murrow.

"Good Night, And Good Luck" is one of the best films of the year. Beautifully directed by George Clooney (who also co-stars), this is a film that exercises a powerful message and social commentary that remains relevant today. Filmed in tight frames of black and white, "Good Night, And Good Luck" also brings back the smoke-filled atmosphere of broadcast journalism and television in the 1950s. The film focuses around CBS journalist Edward Murrow and his attempts to take down Senator Joseph McCarthy through his news program, "See it Now." David Strathairn, playing Edward Murrow, gives one of the best performances of the year and is surely swimming in Oscar territory. Clooney makes his biggest leap in the film industry yet. He, too, may join Strathairn for an Oscar nomination, but in the Best Director category. Filming in black and white, and interspersing news conferences with actual footage of McCarthy, Clooney is an emerging talent worth watching. The ending and the very last frame lets "Good Night, And Good Luck" stay with those who watch it. It ends very abruptly, as if Clooney wants to show the failing, yet lasting effort Murrow had--how he stands as a symbol for the continuation of truth and who is willing to bring it out to the public. The end has a very honest bleak tone to it--we want to see Murrow continue to let the public know what's actually going on in the country, but one man's fight isn't good enough. Clooney chooses a perfect and powerful ending. He makes a bold statement on how public interest in television has contributed to the decay of society, whether it is 1950 or 2005.

The film does not - as some have suggested - unfairly portray McCarthy as a sub-human monster. Its presentation of McCarthy is limited strictly to the thread of the storyline and never does it waver toward name-calling or character assassination. This is particularly striking given that MCarthy was a well-seasoned alcoholic and clearly suffered from a narcissistic personality disorder. He was ripe for parody because his eccentricities were so pronounced, but this film is remarkably even-handed about the Senator's deeds and behavior. There are no allusions either to his peculiar friendship with Roy Cohn, whose notorious homosexual relations with private G. David Schine eventually led to McCarthy's demented charge that the Army was infested with Communists. Some have even suggested that McCarthy was no stranger to gay trysts. All of this could have made for an explosive - and typical - "Hollywood" movie and would indeed have been propagandistic, shallow and simple-minded. Instead Clooney has made an intelligent, cogent, fair-minded film about ethics, high standards and integrity.

"Good Night, and Good Luck" is the kind of film that has elicited strong opinions in the IMDb forum. In fact, most of the critics point out at the manipulation of the actual events and what they perceive as character assassination of the late Joseph McCarthy and the role he played during the "witch hunt" conducted by the late senator from Wisconsin. Whether these points are right, or wrong, in the minds of the contributors, most seem to disregard the film on that criteria, alone.

In fact, "Good Night, and Good Luck" shows a time in the American past that served as the model in the way television introduced the format in which the news was going to be shown to the country using the emerging technology to keep people informed. As such, CBS under William Paley's leadership, amassed a lot of talent and it became the yardstick in which other news programs were going to be judged against. George Clooney, in his second directorial job, recreates what he and his co-writer, Grant Heslov, thought about that period at the beginning of the era of television news.

The film has a documentary style that serves well to illustrate the story being told. Most of it occurring in the CBS studios in New York during the fifties. The crisp black and white cinematography, by Robert Elswit, gives the movie a nostalgic look to the way things were done in those days. Mr. Clooney has inserted scenes where a black jazz singer interprets some standard songs as though it might have been the next program following the actual news hour, and act as a buffer in the events being presented.

At the center of the story is Edward R. Murrow, the CBS anchor at the time. Mr. Murrow was greatly admired for his contributions during WWII and his broadcasts from London bringing commentaries about the war to America. Mr. Murrow was a giant in the field, most admired by all Americans because his integrity and the way he presented his stories, which ranged from the sublime, to the ridiculous, as it is the case with the interview with Liberace in Sherman Oaks where he asked the entertainer about his future wedding plans.

The strong cast assembled for the film is excellent. David Strathairn, one of our most versatile actors plays the leading role. His take on Murrow's mannerisms and the way he spoke to his audience in front of the camera is captured with great detail. Mr. Strathairn gives a good performance, but one never really knows much about the man in the way the screen play has been written. Yes, one gets the impression of Mr. Murrow's high ethics, but as far as what made him tick, one has to wait for another biopic to find out.

The ensemble cast plays well under Mr. Clooney's direction. Robert Downey Jr., Patricia Clarkson, Ray Wise, Frank Langella, Jeff Daniels, and George Clooney are seen in the newsroom as they portray their models under Mr. Clooney's direction.

This film was a real treat, with Strathairn's dead-on performance as legendary journalist Edward R. Murrow a sure bet for at least an Oscar nomination. Perhaps the best decision by writer-director George Clooney was to cast no one in the role of Senator Joseph McCarthy. Instead, Clooney uses actual footage of McCarthy in the HUAC hearings and press conferences. Movies based on actual historical events often sensationalize events, but the extensive use of documentary footage brings home the reality of this movie's story line.

In addition to Strathairn's best performance to date, the entire cast delivers, from Clooney himself as Murrow's producer Fred Friendly, to Frank Langella as CBS chairman William Paley, to Ray Wise as the insecure anchorman Don Hollenbeck. If there is a weak point in the cast, it is Jeff Daniels, who was given little to do in the role of news director Sig Mickelson and did little with it.

As most people today are acquainted with the 1950s through black-and-white images, the decision to film in black-and-white also feels appropriate, and helps the documentary footage to blend in seamlessly with the filmed actors. The only real failing of the movie is the lack of real drama. Throughout, Murrow and the gang are seen to have the upper hand, although they sweat about the potential consequences of every action. The slice of history, the ideas presented concerning the proper role of news media, and the terrific performances all more than make up for this, however, and I strongly recommend this film to those who lived through the McCarthy era and to those, such as myself, who only have witnessed it in the rear view mirror.