Who says journalism’s dead?!?!
Lou Bloom (Jake Gyllenhaal) is a strange, rather mysterious man who is just trying to get by in modern-day L.A. Not only does he steal random resources from construction sites, but even has the gall to try and sell them back. However, late one night, when perusing the streets, he stumbles a upon a car-accident, when, moments later, a guy holding a camera (Bill Paxton) shows up and takes Lou’s mind by storm. He tells Lou that there’s actually some money to be made in filming certain accidents/crime scenes and selling them to news agencies, all for a pretty penny. This gets Lou thinking that not only does he need himself some video-equipment, but he also needs a partner to assist him all this, which is when a somewhat homeless guy, Rick (Riz Ahmed), takes the opportunity, although he doesn’t know what to expect next from this job. And thus, begins the process in which Lou captures some important footage, in very sketchy, dangerous ways and selling it to a local TV station, where he actually begins to strike up something of a relationship with the morning news director, Nina (Rene Russo). However, with Lou, not everything seen in the camera, is exactly how it appears to be and in ways, begins to land him in some hot water; not just with the local police, but everybody around him.
In the post-recession world in which we all live in, it seems like anybody’s ready to make a quick buck, by any costs. Meaning that, if you have to lose your morals for a short amount of time, only so that you can get a healthy paycheck, go home, and get something to eat for once, then all is well. No questions will be asked, and surely, none will be given.
Yep. Totally concerned if anybody’s alive or not.
However, in the case of the media, the line is hardly ever blurred. “If it bleeds, it leads”, is a commonly-heard phrase in the world of journalism (also used once in this film, as well), and it certainly is true; if there’s something downright controversial or sick happening, people want to know about it, so long so as it’s not happening to them. Also though, if one can create a story that would, in some form, shape, or nature, illicit fear in the audience’s mind, then all the better. Basically, the world of journalism is a sick and twisted place, and it’s only going to continue to be so.
Take it from one, small-time journalist to tell ya.
But points about the state of journalism isn’t totally what writer/director Dan Gilroy is all about exploring – sure, he shows us that news agencies mostly what the richest, juiciest story, by any means necessary, but there’s no stance Gilroy takes and seems to run wild with practically with the whole time. Instead, we get a glimpse into the mind of a person who, quite frankly, is just trying to make a name for himself in a world that, quite frankly, is willing to make anybody “famous”.
And this here, is where the strengths of Nightcrawler really shows, folks. Gilroy gives us as much as we need to know about this character of Lou Bloom, but not just by telling us through background info, or constant flash-backs; much rather, we just view how this guy acts in day-to-day life. There’s something odd and definitely off about this Lou Bloom fella, but the way in how he approaches every business conversation is, at the very least, perfectly professional. Sometimes though, it’s so obvious he’s just saying what he read in some cheesy, self-help pamphlet that you wonder if he’s actually kidding around with whomever he’s reading these lines, too.
But that’s what’s so eerie about Lou Bloom – he isn’t. In fact, the guy’s dead serious about everything he says, does, or wants to happen, so that he can not only get more money, but have as much power as he can possibly imagine. Which, trust me, from the first glimpse we get of this guy in a construction-field, is totally surprising. You never, not in a million years, would expect someone who looks or acts like Lou Bloom to have such a dedicated, passionate mind when it comes to getting a certain job done, and reaping of all the possible benefits, but he totally is.
Not only is it believable because of the world Lou Bloom associates himself with (i.e. video-journalism), but because Jake Gyllenhaal is so magnificent in this role, it’s damn near impossible to take your eyes off of him whenever he’s on-screen.
Which is, yes, basically, the entire movie.
It’s a pretty common-known fact by now that, despite a few hiccups in his long-fledged movie-career, Gyllenhaal is a solid, dependable actor who, when you need him to, can deliver on just about anything you ask of him. Now, I’m not so sure Gilroy totally needed Gyllenhaal to lose 20 pounds for this role, but it works for the character in every way imaginable. It not only makes him look like a small, weaselly character that you can’t trust to be around, but allows for Gyllenhaal’s bugged-out eyes to constantly pop-out and make it seem as if they’re carrying most of his body-weight.
But lbs.-loss aside, Gyllenhaal is great here because he always demands our attention, without ever going full out and exclaiming it. Despite one corny scene in which we see him yell and break a mirror, Lou Bloom is a subdued character that definitely has emotions, but doesn’t express them as you or I. He keeps to himself and whenever he’s upset, happy, or simply trying to get his way, he tells you, but without hardly ever changing the look on his face. Gyllenhaal’s creepy in the kind of way that he feels like you wouldn’t just meet him on the street, but even possibly at a family-engagement – calm, cool, collective, and full of all sorts of chatter when you look at him, but dig a bit deeper, and you’ll find a truly cruel, dark individual who, simply put, just doesn’t care what you think about him, or the decisions he makes. As long as he gets what he wants by the end of the day, then all is fine in his world.
The future faces of L.A. Except, let’s hope not, because it would be an even scarier place to live in.
To me, that’s more terrifying than any Patrick Bateman or Travis Bickle. Although, to their defenses, they’re still both incredibly creepy individuals.
And though Gyllenhaal is amazing here in a role I hope earns him a nomination come early next year, he’s not the only one in this film worth chatting about. Rene Russo (Gilroy’s real-life wife) is great in a role that I wasn’t expecting her to be so great in. She plays this aging news producer by the name of Nina and seems like she’s been in the biz long enough, that she’s not only had to deal with it all, but seen it all, too. Therefore, you think she’d be safe enough to cozy up in her job and just wait till retirement – until you realize that that’s very far from the truth. In fact, Nina’s the kind of woman who, even with her experience, still feels like her job is constantly on the line, making her feel as if she needs the best break for her to get out of that slump and be looked at as “needed” once again.
It’s a very meaty role for Russo, the kind of role I haven’t seen her do in quite some time and it’s one that I hope she makes a habit of constantly trying to play with. Because even though you want to despise her for constantly pushing Bloom on and on to get deeper and deeper into these crime-based stories, you still know that, if you were in her position, you’d do the same. So, it’s kind of hard to judge, especially considering that it doesn’t matter how experienced you may think you are in the current position you hold – you’re always expendable.
And that, my friends, is some advice to live by for the rest of your days.
Goodnight. And most of all, good fuckin’ luck.
Consensus: Anchored by two phenomenal performances from Jake Gyllenhaal and Rene Russo, Nightcrawler isn’t just exciting in its portrayal of the underground, seedy world of journalism, but also a reminder that any person, when given the chance to make a name for themselves, will do so, by any means necessary.
8.5 / 10 = Matinee!!
The face of a champion, folks. You best believe it.
Photo’s Credit to: Goggle Images