Just get a blog. You can make anything up!
As producer of the well-known and landmark news program 60 Minutes, Mary Mapes (Cate Blanchett) had plenty of huge stories to work with and break to the public. One in particular came around the time of the 2004 Presidential Election, in which files were leaked to Mapes that practically said that then-President George W. Bush didn’t actually complete any of prerequisites needed to become a member of the National Guard and instead, received special treatment. Knowing that she has something hot, heavy and ground-breaking on her hands, Mapes goes through all of the proper channels to ensure that the story is in fact true, but also worth sticking her neck out for. After time, she does find out that this story is true and, without any more time wasted, she gets the national news anchor, Dan Rather (Robert Redford), to break the story once and for all. Which it does and it breaks down as many barriers as CBS expected it to, if not some more. But then, people start questioning the evidence, which means that it isn’t before long until they start questioning every aspect of the story, from the information, to the leaks, and to Mapes’ own personal political beliefs themselves.
There’s about one too many speeches in Truth that feel just like that: Speeches. In Aaron Sorkin pieces, whenever somebody breaks out into a speech, it may sound so incredibly random and obvious, but you roll with it because Sorkin’s writing can be so compelling, that people stopping whatever they’re doing to lace into a five-minute monologue about die-hard Republicans, for some reason, feels believable. It’s Sorkin’s universe and if somebody wants to ramble on and on for no reasons other than to get a point across, then so believe it.
Problem is, Truth wasn’t written by Sorkin and could have definitely benefited from that. Not just because there’s so many speeches here that feel ham-handed or silly, but because they come at inappropriate times that don’t add much to the actual story the movie’s telling, other than to get some a political viewpoint across. And within Truth, there’s a very interesting story to be told and more often than not, it does get told; however, because it has such an agenda to get across, it feels like it’s doing a dis-justice to said story.
Then again, though, it is a movie about journalism and as most of you may now, I’m an absolute sucker for those kind,
That’s why, whenever Truth focuses in on the pre-publishing sides of getting a story together (mapping everything out, finding sources, following the money, etc), it’s a very entertaining look inside how a news outlet as widely-known and ginormous as 60 Minutes, gathered up all their info to make a story. Once again, you don’t have to be a journalist to appreciate these scenes, but if you are one, these scenes will all add a certain level of excitement; though we all know how the story ends when everything is said and done, there’s still a slight feeling that things may go down smoothly that makes it all the more enjoyable. Take away all of the political maneuvering the movie does tend to take, and deep down inside, you have a solid piece of how 60 Minutes brought together one of its biggest stories, decided to go with it, and watch as all the pieces fell.
Had it stayed like this, too, Truth would have been great. However, it doesn’t and that’s when it starts to get very preachy and become something else entirely.
To say that writer/director James Vanderbilt may have had an agenda when creating this movie, is an absolute understatement – the dude has an ax to grind and wants everybody to know! Which, in a way, is fine. Had this movie been about a fictional story, that closely follows this actual, real life story, it probably wouldn’t have felt pushy. But, because Vanderbilt is using this true 60 Minutes story, and the eventual fallout, as a place-mat for his thoughts and feelings, it comes across as off-putting.
While it’s fine that Vanderbilt had a point to prove with this story and didn’t just go through the same motions of telling it as straight as possible, there’s still a feeling that he’s taking more away from the actual impact the story could have had. Take, for instance, Cate Blanchett’s Mary Mapes, someone who feels as if she deserves her own biopic by now, starring Blanchett, of course. Mapes, from what we’re told in this movie, is a tough, rugged, and dedicated journalist who is so willing to go to the deepest, darkest depths to make sure that her story is heard, that she sometimes risks losing those closest to her.
Sounds corny? Well, that’s because it is.
However, Blanchett being Blanchett, is so terrific here, that I hardly even cared to notice. Instead, I just let her do her thing and see what more I could find out about this character as the story rolled along. But, as the movie continues, we start to get more and more scenes of Mapes breaking out into yammering speeches about the state of journalism, politics, and ethics – all of which don’t feel pertinent to telling the story and instead, the perfect time for Vanderbilt to get on his soapbox and yell for a little while. The movie does bring up some interesting points about political bias’ mixing with journalism, but at the end, all they do is hint at the possibility that Mapes may, or may not have, overlooked some facts with this story, just to get her political point across. Whether or not this is true to begin with, remains to be seen, but it’s not really a point that seems to work or feel well-thought out.
The same problem goes for Dan Rather, who is, oddly-enough, played by Robert Redford. The movie never really digs any further into portraying Rather as anything more than just a great, lovable guy who is willing to tackle any story, so long as Mapes was there to okay it. Redford’s fine here, however, it’s too distracting to see him play someone else who is already so famous to begin with. And given that they aren’t given a whole lot to do, Elisabeth Moss, Dennis Quaid, and Topher Grace all do fine in their respective roles as the fellow journalists who helped to layer-out this story into being more.
But honestly, Truth is mostly Vanderbilt’s time to stand up, speak and drop the mic.
And that’s it.
Consensus: Boasting a solid cast and interesting look inside an infamous event in journalism history, Truth is two-halves of a great movie, until it gets preachy and can’t seem to keep its mouth shut.
7 / 10
Photos Courtesy of: Indiewire