Tag: Mark Ruffalo

“Truth” and “Spotlight” and the News

Cate Blanchett as Producer Mary Mapes, Robert Redford as Dan Rather
Cate Blanchett as Producer Mary Mapes, Robert Redford as Dan Rather
Spotlight_(film)_poster
Rachel McAdams, Michael Keaton, Mark Ruffalo, Lev Schreiver, and Brian D’arcy James as the Pulitzer Prize winning Boston Globe team

The ultimate goal of every great reporter is to find a terrific story that nobody else has, and report it.  Right now, released almost simultaneously, are not one,  but two movies about journalism and how it works.  In one, eagerness to tell the tale combined with politics to destroy the story, and several stellar careers.  In the other, universal caution and the power of the establishment combined in efforts to do the same.  Based on true stories, Truth and Spotlight portray, with fierce and sometimes heartbreaking commitment, the professional, ethical and political challenges every good reporter faces.

Each features a wonderful cast:  in Spotlight, Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, and Stanley Tucci; in Truth, Cate Blanchett, Robert Redford, Topher Grace, Dennis Quaid, Elizabeth Moss, Bruce Greenwood and Stacy Keach.  They’re all great.

Both stories beautifully illustrate the adventure, pain, excitement, drudgery and teamwork required in the service of a seriously reported story.  Although Spotlight is a far better film, the familiar TV-ness of Truth, as Dan Rather and his 60 Minutes production team, pursue the “George W. Bush Went AWOL from the National Guard” story made it particularly heartbreaking for me.  I emerged agitated and halfway out of breath.

It’s was just so sad to witness great work sidelined not by corporate politics or even overt censorship but by small decisions made in service of a great story and a tight deadline.   All good journalists understand the importance of this: “If you don’t have time to check one more way, or listen to the person who still has reservations, the story shouldn’t air; if it’s about the President of the United States, even airtight isn’t good enough.”  Eager to get on the air and armed with several good pieces of evidence, Mapes insisted the story was ready though – and so it aired.

In this case, although the story was never proven to be false, challenges to errors or lack of clarity in several small details (which were indeed careless or at least a product of selective listening) provided enough ammunition to cost both Rather and Mapes their jobs.  In each case the removal was deeply humiliating.   Knowing what was coming, it was agony to witness, especially when the entire editorial process was so familiar and the problem elements stood out so clearly.

Spotlight, again drawn from a true story, followed reporters uncovering the child sex abuse scandal in the Catholic Church, revealed by the Boston Globe’s investigative unit the “Spotlight” team at the Boston Globe.  In this case, the adversary wasn’t the White House and all the weapons at its disposal,  Rather, it was one of the few institutions with more power: the Catholic Church and its hold over Boston and the Globe, whose readers were 56% Catholic as were much of the editorial staff.

Piece by piece, through roadblocks and threats, the team pulled the story of the abusive priests together, with victims on the record, only to be confronted by their new editor, who wasn’t satisfied that this information alone would bring change:

Show me that the church manipulated the system so that these guys wouldn’t have to face charges. Show me they put those same priests back into parishes time and time again. Show me this was systemic, that came from the top down.”

So they did.  And their story rocked the Church worldwide.  Literally.

To arrive there though, team members had to deal not only with the pain of the victims and horror of the story but also with their own relationships with the Church.  That wasn’t just deep connection or lapsed faith, but also an emotional and spiritual system internalized by these longtime-Boston journalists as they grew up their very Catholic hometown.

In this case though, a combination of fierce commitment and great editorial guidance allowed them to resolve any questions that might arise before their initial story ran.  They ended up writing hundreds.  And won the Pulitzer Prize.

So.  Two news movies.  Both worth the time and money it will take to see them. Together they bring us perfect lessons: this is what happens when newsgathering doesn’t live up to the tough standards required of the profession, and these are the remarkable things that can happen when it does.

 

 

The Normal Heart – a Kick in the Gut

HugOf course there’s no such thing as time travel.  Of course not.

The Normal Heart though, for anyone who was in New York in the 80’s, comes about as close as you can get.  We watched it after the Emmys.  I had avoided it, knowing how troubling it would no doubt be, but it felt wrong to not look.  Too many people had done that 30 years ago.  Here’s how one New Yorker described, to the New York Times,  Manhattan in May of 1987:

‘Going to funerals has become a way of life,” said George Getzel, a Hunter College social work professor who counsels AIDS patients as a volunteer. ”People in their 70’s and 80’s experience this but here people in their 20’s and 30’s are visiting the sick at homes and in hospitals and burying the dead. Some are themselves sick. It’s become a regularized aspect of the lives of gay men and others like myself who are involved.

The Normal Heart slammed me back to those days:

The day, when I worked at the TODAY SHOW, that my friend Susan Weaver did one of the first AIDS stories that included a live guest in the studio.  There was fear in the air that morning.  A couple of studio crew members asked to be replaced and people debated in advance whether to shake hands with the young man who had the courage to show up and talk about what was happening to him, to New York and, we know now, to all of us.

The day that Allison Gertz, who succumbed to AIDS in 1992 at the age of 26 (and who spoke at many high schools to very effectively remind teenagers that for her, AIDS came from a single encounter with an infected man and that heterosexual sex was anything but safe) spoke, with enormous impact, at my own son’s high school.

The day that our sweet friend Stephen left us.

The day one of my oldest friends told me that of his entire book group, he was the only survivor.

The day Elizabeth Glaser,  wife of actor Paul Michael Glaser, stricken through a blood transfusion during the birth of her daughter Ariel, who also contracted the disease, showed up at a Georgetown party lobbying and fundraising simultaneously.  Ariel’s illness drove Glaser to form the Pediatric Aids Foundation, later renamed the Elizabeth Glaser Pediatric Aids Foundation in her honor.  She was everywhere, from Georgetown to Hollywood to endless television appearances, raising money and awareness until she died in 1994.

The day we watched Mark Harmon, the loveable, mischievous Dr. Caswell, walk away alone from the brilliant St. Elsewhere, his own AIDS diagnosis and certain death drawing him to an AIDS hospice to provide care until he died among his patients.

For everything here came days and weeks worth, years worth of deep melancholy and, for so many, pain, death and grief.    Because New Yorkers live so close together, ride mass transit, hang out in public parks, buy food from hotdog carts on the corner and, even if they’re really really rich, can’t stay clear of strangers, we all knew it, felt it and feared it.

Of course, AIDS is still with us, a terrible epidemic in the developing world, and still present in the West.  Here the reality is different today, if not entirely.

So yes, The Normal Heart was time travel; the gift of a perfect document reminding us, and portraying for those who came after, of a terrible, terrible time.