Quiz Show - A Verdade dos Bastidores

I watched this film for about the fifth time last night. I first saw it a couple of years ago when my mum brought it home, she'd picked it out of the bargain bin at the supermarket, and what a bargain!

It is a superb tale, I notice some have said 'who cares it was just a dumb quiz show', well that is hardly the point, many films are made where, what was seemingly the subject is actually just a background for the real story to be told.

Quiz Show is a brilliantly told morality tale, but that is not to say it preaches. It can get away with not preaching because the consequences of their actions didn't harm anyone. It doesn't say, 'if you do something wrong you will be punished'. It says 'If you do something wrong, can you live with yourself'. "It's the getting away with it I couldn't stand" Charlie says at one point.

A classical tragedy of a man with the world at his fingertips who throws it all away at his own volition. As a classical Shakespearean actor Fiennes is perfect for the role.

A wonderful intelligent and literate script, the pieces between Charlie and his father in the Athanaeum and at the picnic are wonderful.

Subtle music and stylish presentation are the icing on the cake.

The ratings of 1950's quiz show `21' are in freefall due to the dominance of dorky Jew Herbie Stempel. The sponsors and network owners put pressure o the producers to replace him. When WASP Charles Van Doren comes to audition for another show they offer to ask him the questions that he already answered at the practice. Herbie is told to take a dive and Van Doren becomes an audience draw. However when Herbie starts making noise about a fix, a congress employee, Dick Goodwin, decides to go after the network.

This is a glossy, professional piece of work that sadly was never as huge as hit as it deserved to be (probably not enough explosions for the US audience). The story is based on a true story that happened in the 50's and it's used here partly as a bit of history but also as a look at television in terms of it's most basic desire to sell and entertain at any costs – if that means fixing shows or getting the `right' ethnic groups on screen then s be it. It is effective on that level because it's hard to imagine anything has changed since 1950. The actual human drama comes between Van Doren and Stempel – the film makes them both real people, neither good nor bad but having a bit of both.

Turturro is the best thing in this film. His Herbie has so many levels which he must touch throughout and he does them all well – whether it's humour, pride, anger or realisation. Fiennes is good but at times I did find it hard to be sympathetic with a WASP born into a lofty family who gets more given to him. That said Fiennes did him well. Morrow was a strange choice – famous at the time for Northern Exposure, he does a weird performance here – almost doing an impression of what he thinks a tough Noo Yark investigator would be like. The supporting cast is filled out with quality so deep that even the extras are famous now! (Calista Flockhart turns up briefly). David Palmer and Hank Azaria are good as 21's producers, Christopher Mcdonald is good as the host – people like Griffin Dunne, Mira Sorvino, Timothy Busefield and Barry Levinson come and go, and Martin Scorsese has a wicked role as the money behind the scandal.

It works on many levels – at it's most basic it is a true story of great interest, at best it lets you see how television works and how men with money can rarely be reached for any wrong doing. Working on so many levels this is a polished professional drama that involves from start to finish.

It would be pretty surprising if Quiz Show, Robert Redford's film about the 1950's quiz show scandals was anything short of excellent. The principal actors give phenomenal performances: Fiennes' Van Doren is usually unflappable and cold, but manages to allow vulnerability to surface at times, and Turturro's Stempel is a study in almost sociopathic and manic behavior. What allows both actors to transcend mere greatness is their ability to make the viewer both admire and detest their characters with something as subtle as a glance or body language. Morrow's character of the `whistle-blower' is there as the moral fiber; the outsider who looks upon the situation both with objectivity and as the devil's advocate.

Redford's direction is rich and well-paced. There were not any slow moments in the film, and he did not have to adhere to rapid-fire editing to achieve the momentum of the film. Perhaps the subject matter is a factor, but I have found that with the exception of `Ordinary People', the films I have seen under Redford's direction have been good in a technical respect but lean toward the maudlin. With Quiz Show, he does what should be done when telling a true story – he does not resort to preaching, rather he directs with an objectivity that allows the viewer to come to their own conclusions.

Quiz Show is an excellent film that I highly recommend, especially to see the razor-sharp performances of Fiennes and Turturro.

--Shelly

As a twelve year old growing up in Brooklyn, I did not even know the name of the show I was watching every week; to me it was just a vehicle to see if hero Charles Van Doren could hang in. He was handsome, articulate, witty, and all the girls thought him incredibly attractive (although their pre-teen minds did not yet understand sexuality). Growing up in a Jewish neighborhood as I did, Herb Stempel did not come off so nerdy as he looks now in retrospect. When it came out that everyone had cheated, us kids felt not only betrayed, but sleazily cheated personally. The girls felt somehow violated!

Here Redford turns in an understated masterpiece. He sets the stage and the standard, and gets fantastic performances from his actors:

John Turturro as Stempel is excellent, but a fine job by Johann Carlo as his principled wife, which may be overlooked in such company, is the rock upon which his family can really rely.

Ralph Fiennes, as the hapless Charles Van Doren, manages to get across his character's dilemma: a mere achiever in a family of ultra-achievers. In any other family he'd have been prime, as a Van Doren he would always be an also-ran.

Many have pointed out the great job of Paul Scofield as Mark Van Doren, Charles' father. He is the epitome of the WASP-intellectual padrone. And he has our sympathy when his son so sorely disappoints him and disgraces the family.

David Paymer is excellent and believable as Enright, the unsavory producer. He makes it almost seem disloyal not to cheat!

Bit parts are all little plums: Martin Scorsese as Martin Rittenhouse, the Geritol exec, smugly contemptuous of the public and the government. George Martin as the network president, clearly Jewish, and just as clearly a "Teflon Don" in his own world.

The scenes at the Van Doren estate are designed to convey investigator Goodwin's (Rob Morrow) culture shock and outsider status, and they represent the academic WASP world of the time accurately and wonderfully.

All in all, a great movie.

In the late 1950's the TV game show "Twenty-One" was rigged. Popular contestants who could grab ratings were fed the questions and answers, and those who the network wanted off were told to take dives, all for the sake of keeping ratings up and selling Geritol. "Quiz Show" is the story of the scandal, and of the potential danger of the power of television. The movie focuses around two contestants in particular: Herbert Stempel (John Turturro), the reigning champ at the start of the movie who the network decides it wants to dump in favour of someone more glamorous who can pull in higher ratings: Charles Van Doran (Ralph Fiennes), a college literature professor. Stempel feels cheated of the glory that he feels was his due, while Van Doran is tormented by his desire to tell the truth, but also to cover up his involvement in the scandal.

This is an interesting film that gives a fascinating look at the inside workings of the TV game show of that era. And it does paint a fascinating moral dilemma. As Dan Enright (David Paymer) - Twenty-One's producer - says to the Congressional committee that investigates the scandal, this was after all just a TV show; by definition a piece of entertainment. The sponsor sold its product, the network got ratings, the contestants made money and the public got entertained. Where was the victim? And yet it WAS dishonest. It's a fascinating issue, this whole concept of a victimless crime. And the ultimate irony was summed up by Dick Goodwin (Rob Morrow), the head Congressional investigator: the Committee got Van Doran, but what he wanted was to get television. In the end, as he says, television will probably end up getting them.

All in all this was an interesting movie, although - strangely for a true story - I felt it lacked any sustained dramatic intensity. Remembering Jack Barry from the 1970's as host of the game show "The Joker's Wild" (he was also the host of "Twenty-One"), I was very impressed by Christopher McDonald's portrayal of him. Although the role wasn't really that central to the movie, McDonald had Barry down pat, and I felt as if it really were Jack Barry I was watching.

All in all, this is a very good movie. I wouldn't run out and buy it, but it's certainly worth a rental.

7/10