The Fifth Estate: Not Transparent Enough—Movie

“The tyrants of the world should beware…but what about the others?” Guardian journalist Nick Davies and WikiLeaks co-founder Daniel Berg ponder this question at the end of “The Fifth Estate.” This question really goes to the heart of the film. Directed by Bill Condon, based on books by  Daniel Domscheit-Berg and David Leigh and Luke Harding  and adapted by Josh Singer, “The Fifth Estate” is not so much a biography of Julian Assange, WikiLeaks founder, but is more about the growth of WikiLeaks and the power it had for good and evil.

“The Fifth Estate” begins with the early days of WikiLeaks and the meeting of Assange (Benedict Cumberbatch) and Daniel Berg (Daniel Brühl). During that get-together they discover that they have similar ideals and goals. The two form a partnership, which in  Berg’s eyes is a partnership of equals. Working with Berg opens Assange up to a network of like-minded cohorts, bent on bringing transparency to the inner workings of corporations and governments. Through Berg’s computer pals, WikiLeaks is able to download information much faster and provide more immediacy to their work. It’s that immediacy and sense of urgency at all cost which eventually causes Berg to rethink what WikiLeaks is doing. Has its original intent gotten out of control?

Both Cumberbatch and Brühl are very good as Assange and Berg respectively. Cumberbatch obviously has the showier role and he does a terrific job in displaying the sheer ego and dedication to what Assange believes is his calling. Brühl’s performance is more understated and nuanced as it needs to be.

According to the film, much of the planning and recruiting for WikiLeaks takes place in underground venues all over the world. If true, I find this part of the of the WikiLeaks story fascinating. Where once grand ideas and uber planning took place in smoke-filled, staid rooms and clubs, the new world order for plotting is now done against the backdrop of a backbeat. The setting does give a somewhat hipster feel to the idea of document leaking…deserved or not. Leaking has become cool.

Every now and then “The Fifth Estate” has the spirit of “The Social Network”—two young men expanding the role of new media. But as the film goes on to show the resulting collateral damage of leaks, “The Fifth Estate” shifts in tone. Sometimes it feels like “Argo;” sometimes it’s “All the President’s Men.” And therein lays the problem. Despite strong acting, “The Fifth Estate”  doesn’t succeed ultimately because it isn’t quite sure of what kind of film it wants to be.  What it should be is the Julian Assange story. For someone who is so dynamic and driven and manages to outwit major companies and countries, we are told very little of his back story.  We are teased with information, but never learn why becomes such a crusader. We actually find out more about Berg (maybe that’s because the movie uses his book), but frankly, he’s not the interesting character. I left the film wanting to know a lot more about Assange.  That’s the film I want to see.

2 nuggets out of 4

 

Zero Dark Thirty: A Tribute to Dedication—Movie

Less controversial than reports would lead you to believe, “Zero Dark Thirty” is, nevertheless, a gripping film that as the movie nears its conclusion, will have you on the edge of your seat, even if the outcome is known.

Beginning with one of those heart-breaking phone calls made September 11, 2001, “Zero Dark Thirty” then moves on to the hunt for Osama Bin Laden, the horrific day’s master-mind. Directed by Kathryn Bigelow and written by Mark Boal, “Zero Dark Thirty” is derived from that real-life hunt and takes you behind the scenes into how that search and killing came to be.

Jessica Chastain plays Maya, based on the actual CIA officer who spent a decade—at the time her entire career—searching for Bin Laden. We meet her as she lands in Pakistan and accompanies fellow CIA operative Dan (Jason Clarke) as he begins another day of interrogating Ammar, a prisoner with alleged ties to Saudi terrorists. Eventually Ammar provides them with a tidbit which brings the hunt into focus. After many years, unbelievable focus and determination and, yes, some brilliance and luck, Maya believes she finally is able to pinpoint Bin Laden’s whereabouts. In fact, “Zero Dark Thirty’s ” suspense quotient kicks into high gear when the CIA operatives follow the courier they think will lead them to Bin Laden and then the actual raid.

Much of the film is pretty slow; let’s face it…watching someone stare at a computer screen isn’t all that compelling. But “Zero Dark Thirty” does a very good job in showing us the painstaking work the intelligence community performs and how long it takes for decisions to be made and acted upon. Perhaps surprisingly, some of the most interesting and memorable scenes take place in CIA headquarters in Langley,VA, as Maya interacts with some of her CIA superiors.

Jessica Chastain is very good as the dedicated operative who seems to carry the whole operation on her shoulders. She beautifully captures the look and feel of someone who has no life other than her job. Jason Clarke is terrific as her colleague and friend.  He seems to move effortlessly from villainous interrogator to best friend—the film picks up every time he’s on screen.

“Zero Dark Thirty” has a great supporting cast. Singled out for mention among many good performances are James Gandolfini as the unnamed CIA Chief, Leon Panetta; a fabulous Marc Strong portraying the CIA officer who comes to Pakistan with perhaps one of the best motivational lines spoken since “Win one for the Gipper,” screaming “Bring me people to kill,”  and finally, Jennifer Ehle, as Maya’s embassy colleague, Jessica, who has a powerful turn as the veteran operative.

Like the superior “Argo” (at least to me), “Zero Dark Thirty,” is at is best when it shows us the heroism and dedication to country of the federal workers that most of us never think about. That alone makes “Zero Dark Thirty” worthy of our attention.

3 nuggets out of 4