Wow. Communists make the best screenplays.
In 1947, there was nobody hotter than Dalton Trumbo (Bryan Cranston). While he wasn’t the one you’d see on the screen, he was still the one responsible for so many great flicks, that people come to love and appreciate his work. But after this, people started to worry about his politics. See, Trumbo, as well as a few countless others of his closest friends and confidantes, were all blacklisted for showing their support for the Communist regime. Because of this, just about everybody who was blacklisted, were told to come forward and give away more names – for those dedicated few who didn’t, they risked never working in Hollywood ever again. Trumbo was one of those people, however, he still found a way to keep on working and turning out scripts, without ever jeopardizing the studios he actually wrote for. Through the next few years, Trumbo will write some of the very best screenplays, to some of the most iconic and revered movies of today’s day and age, however, all of that hard work and hardly any play begins to take a toll on Trumbo, as well as his loving, caring family who depend on him and his talents.
A lesser film, by a lesser director probably would have just kept the story limited to just Trumbo being accused of being a Communist and leaving it at that. However, because Trumbo isn’t a lesser film, and because Jay Roach isn’t a lesser director, there’s more going on with Trumbo’s life that the movie continues to focus on. And while the movie may definitely benefit from having a source as strong and as interesting as Trumbo to make their movie about, it still deserves to be said that Trumbo is a solid piece of showbiz entertainment that shows us everything we despise about the industry, as well as the things we love.
Sure, maybe it’s more of love than hate, but hey, it’s still a pretty place that anybody would want to be apart of, if they had the talent to pull it all off.
But like I said, Trumbo is all about Hollywood at a certain period and time that was, on one side, very exciting and glamorous, but on the other, quite scary as well. What Trumbo does best is that it highlights the absolute paranoia and fear those within Hollywood feared due to the Communist blacklisting; while most of those associated with the biz were also Communist sympathizers, they weren’t allowed to come out and say so because, well, they wanted to continue to work. There’s a select few of insiders with Trumbo’s group of trusted allies that all seem to be on the same page, initially, but slowly and surely, start to peter-off and throw the other under the bus, just so that they can continue to work and make as much money as they were before. While we may not share a whole lot of sympathy for these attractive stars and celebrities, there’s still a certain feeling of some sadness when one or two of them have to suck their pride in, accept their lashings, and move on with their careers.
At the same time though, Trumbo is still, first and foremost, a small biopic of a movie legend that, honestly, not many people remember or still treat as an inspiration.
Though it’s interesting to see how Trumbo, the man, handles all of the negative press and attacks he gets for being a Communist party sympathizer, it’s even more so when the later part of his career comes into play and he’s stuck writing crappy scripts, for crappy production companies, and sometimes, making great scripts, for great companies, but not being able to take any sort of credit. It’s both fun and exciting to watch, while, at the same time, a bit heart-wrenching because we know that Trumbo deserves all of the credit and praise for these scripts, but just can’t actually go out into the world and say so.
Not to mention, it’s great to see a flick that focuses on, most of all, a screen-writer. So rarely do screen-writers get the credit that they so rightfully deserve – especially those from the older-days of Hollywood. While there were a few directors who directed their own screenplays, for the most part, directors made scripts that they picked-up and decided to go from there – due to this, not a lot of screen-writers got the whole credit that they deserved. With Trumbo, Roach not only shows that it’s definitely up to the writer themselves, to tell whether or not a piece is going to work.
Because, quite frankly, if you don’t have a good screenwriter, what good is your movie anyway?
As Dalton Trumbo, Bryan Cranston does a nice job of taking what could have been, at first, a very over-the-top impersonation of the real life figure, but then takes it one step further and digs deeper. There’s a lot more to Trumbo than just a bunch of witty-lines, humor, and a fancy ‘stache; the dude’s actually getting to become a bit stressed-out and screwed-up from writing all of these screenplays and not being able to take any credit for them. Cranston’s good here as he not only shows the light-hearted, fun-loving side to this man, but also the sometimes angry, almost spiteful side as well.
And everybody else surrounding Cranston is quite good in their own roles, too. Though Diane Lane isn’t asked much to do, she still gets some bright, shining moments as Trumbo’s wife, Cleo, who wants nothing more than for her family to be happy and peaceful; Helen Mirren is nastier than ever as Hedda Hopper, the most hated journalist at the time and shows just why she was so despised, but why she was also always getting dirt on those around her; Louis C.K. has a couple of nice scenes with Cranston as one of Trumbo’s buddies who is involved with the Communist-sympathizing party; and Michael Stuhlbarg does a good job at giving us more to Edward G. Robinson, but never fully lapsing into an impersonation that seems like a parody.
If there’s anything about Trumbo is that, when all is said and done, it’s a fine piece of cinema, but that’s about it. Having focused on Dalton Trumbo and looking at all the work that he’s created over the years, the movie definitely doesn’t live up to the legacies, but as it is, it’s still a fine piece of showbiz entertainment. People laugh, people cry, people learn lessons, people get better, and most importantly, people make a lot of money. That’s about all there is to showbiz, which is why that’s all there is to Trumbo.
Consensus: Maybe not setting the biopic world on fire, Trumbo is a solid piece of showbiz drama that doesn’t step too far out of its comfort-zone, but also benefits largely from having such a talented cast on-board.
7 / 10