माइकल क्लेटन

This film marks an incredible directorial debut for Tony Gilroy. He was an accomplished screenwriter - and his script for MC is immaculate - but his direction was inspired with confidence and craftsmanship. Immaculate performances across the board - especially from Tilda Swinton and Tom Wilkinson. Masterful storytelling and nearly perfect execution. The look and feel of the world was perfectly calibrated. It's one of the those films that gets even stronger with age. There's so much happening in his film, to re-watch is overcome with revelations. I love this film so much. I really wish they made films this smart and well-crafted more often these days. It's just not the kind of film that movie studios care to make anymore. Sadly.

This is a well-made suspense film. It builds slowly, it features the key characters in sometimes agonising close-up, it weaves an intricate plot (a bit too intricate, in hindsight -- I'm still not sure why some events were included), and George Clooney is masterful as the morally conflicted character who does his best to hold his collapsing life together, while slowly realising that his role in life is not quite what he thought it was in any case.

There are some things this film is not. It's not an action film ... if you expect that, it will seem very slow. It's not a warm and friendly film that leaves you feeling good about the world -- it was shot in winter, just to emphasise its coldness. It's not a comedy in any way, not even through being over-the-top. It's reality rather than escapism.

If you like suspense, unflinching realism, stories of moral conflict, criticisms of corporate America, or George Clooney -- or if you're just in the mood to see that kind of film -- you'll love it. If you're in the mood for a film to wash away the cares of the day (as I was), choose something else.

I'm a student of noir. Its an American invention, something like jazz, and has colored film and therefore narrative deeply and permanently.

My definition of noir centers on the world between the viewer and the story. In the ordinary instance, the characters (usually one man and his girl) find themselves in a world where the laws of cause and happenstance are artificial. Things don't happen as they normally would in life, rather they are arranged. Things are artificially jiggered to produce a story that works for the storyteller. Odd circumstances. Strange coincidences. Unlikely relationships. Things serialized, compressed and displayed for the convenience of the viewer.

The thing that's characteristic of conventional noir is that the thing starts with a real reality. We have a common fellow, nominally a Jimmy Stewart type, who is living a normal life and who gets lifted into a noir fate. What makes this so flexible is that we the viewer become gods, jerking around the character. This allows for all sorts of clever ironies and narrative folding because we implicitly become agents in the story.

But if you are a modern screenwriter or filmmaker, your greatest challenge (usually) is what to do about this. Its something that Soderbergh and Clooney worry about. What we have here is pretty basic noir, elaborated in three dimensions.

The first is that they chose to make our noir hero a full character. No Philip Marlowe here; this guy is comparatively fleshed out and played by someone who knows how to do so.

The second twist has been done before. They add in the world of law. That world has a different ontology in matters of cause and truth, so is a handy one for noir games. For lawyers if something really is true it doesn't matter. Its only true if there is admissible proof that it is so. Cause, the basic thing that is at the root of noir fate, has a similar disconnect between the real and the legal. Normally, this would just be a background element. But here there is something novel.

Clayton's son has a fixation on precisely these matters of real and unreal worlds. There's lots of talk about how they blend, and a terrific device of a lawyer who decides to "change sides." That means shifting from the evil corporation to the ordinary girl, at the same time shifting from memos to a fantasy book — he literally puts a "new cover" on a key document. And he shifts from sanity to madness. A key plot point, by the way is that he never did anything without leaving a memo.

This is terrific writing and reason to see the thing by itself. Kid, book, reality.

The third twist is that we have two noir characters. The woman here isn't just a moll along for the ride. She's Tilda Swinton for heaven sakes, someone equally caught up in circumstance. She's probably in her position because of past sexual favors and trying hard to "perform." She's as manipulated by the story as the Clooney character. Its a bit novel and very well done. She's good to have around.

Ted's Evaluation -- 3 of 3: Worth watching.

There aren't many movies that I enjoy watching twice or more, this is certainly one of them. This is in the running to be my favorite movie of all time. This movie can be hard to follow, and can seem vulgar at times, but in reality the dialogue has a higher purpose: to illustrate how we can get lost in our personal objectives and lose track of the bigger picture. The majority of characters in this movie don't fall into the "good guy", "bad guy" category, they are various shades of gray, just like real people. If one puts themselves in the shoes of the characters, their actions are plausible and consistent with reality. If you don't want to have your brain challenged by a time-line that bounces around and a complicated story that requires the viewer to put the pieces together you might want to save this for another night, but don't miss it, it's an incredible piece of writing and filmmaking.

Saw this at a screening at the Toronto Int'l Film Festival.

This movie is appropriately titled "Michael Clayton" because in it we are introduced to the man in his many life roles; father, ex-husband, brother, son, friend and businessman. Some things he's good at, others not so much.

Terry Gilroy's debut directing showed a controlled and restrained hand, allowing the multi-tracked storyline to expand and grow, but always with a pull back to the core. For a fairly busy plot with numerous sub-characters, he did a good job of turning over pieces of the puzzle to bring the audience back full circle to the opening scene.

Michael Clayton fixes things, but we see in his own personal life there are a trail of problems he's dealing with. It's when he works alone that he seems to do his best work. Once those close to him come into his decision-making process, he lets emotions rule rather than his head.

George Clooney always seems to have a message in his movies, wanting us to be aware of the evil-doers out in the world. His boyish charm and general likability makes you root for him. We can relate to him.

Michael Clayton is a flawed individual who has good intentions but often gets beaten by the world and the people around him. Can't we all relate to that too? This was a satisfying suspense flick. Key to enjoying it is to pay attention.