Michael Clayton (2007)

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Reviewed by Coach Patton
©D. Patton, All Rights Reserved

Written and Directed by Tony Gilroy

Running Length: 2:00 Rated: R (Profanity)

PLOT: Michael Clayton is an in-house "fixer" at one of the largest corporate law firms in New York. A former criminal prosecutor, Clayton takes care of Kenner, Bach & Ledeen's dirtiest work at the behest of the firm's co-founder Marty Bach. Though burned out and hardly content with his job as a fixer, his divorce, a failed business venture and mounting debt have left Clayton inextricably tied to the firm. At U/North, meanwhile, the career of litigator Karen Crowder rests on the multi-million dollar settlement of a class action suit that Clayton's firm is leading to a seemingly successful conclusion. But when Kenner Bach's brilliant and guilt-ridden attorney Arthur Edens sabotages the U/North case, Clayton faces the biggest challenge of his career and his life.

Starring: George Clooney, Tom Wilkinson, Tilda Swinton, Sydney Pollack, Michael O'Keefe, Ken Howard

The Truth Can Be Adjusted

There really was a time when American cinema contained complex storylines, social commentary and characters that were allowed to be flawed and ambiguous instead of being purely good or purely evil. During this period (historians have referred to it as “the Seventies”) not only did these films -- including such titles as The Parallax View, Serpico, Dog Day Afternoon and All the President’s Men, to name a few -- exist, they were designed as mainstream entertainments to be enjoyed not by the critics and the public alike.

Somewhere along the line, however, this vogue for intelligently crafted and socially committed popular entertainment fell by the wayside for a number of reasons--some historians tend to offer the knee-jerk explanation Star Wars in the same way that high school teachers reduce the myriad details leading up to the Civil War as “slavery.” Such films became the exception rather than the rule and on the rare occasions when one would actually slip through the filmmaking apparatus, it would only be because the studio in charge figured that such a film might score the Oscar nominations that their blockbuster gumdrops were never going to receive

One movie star who has chosen to use his considerable box-office clout to keep this cinematic tradition alive against the odds over the years is George Clooney. Whether he has been doing this out of a deep love for the films of that bygone era or as a form of continued penance for appearing in one of the crappiest corporate-driven films ever made, the disastrous Batman & Robin, I cannot say. But whatever the reason, the end result has been one of the most fascinating filmographies in recent years.

As an actor, producer or director, he could easily be making a career out of doing shallow entertainments for enormous paydays but instead, he has used his considerable clout to instead put forth such challenging and hardly sure-fire films as Three Kings, O Brother, Where Art Thou?, Fail-Safe, Solaris, Confessions of a Dangerous Mind, Good Night, and Good Luck, Syriana and The Good German. Although not all of these films were successful from a box-office standpoint (which explains his occasional appearances in such smartly conceived blockbusters as the Ocean’s Eleven films), they were all smart and thoughtful films that were among the best of their respective years and if they had been made during the 1970's, it is likely that film connoisseurs would be venerating them today as much as they have done with other classics of the era.

His latest film, Michael Clayton, continues this streak by giving viewers a taut, exciting and thoughtful legal thriller that is so smartly conceived and executed that to call it a “legal thriller” almost sounds demeaning.

When it comes to motion pictures, there are essentially two kinds of thrillers: cerebral thrillers, which burn more slowly but are often more satisfying in the end and visceral thrillers, which rely on action to generate tension and excitement. Michael Clayton, (the directorial debut of screenwriter Tony Gilroy), belongs in the first category. The movie unfolds at its own pace and makes few concessions to impatient viewers or those who don't pay attention. The narrative is dense and presented in a manner that may cause initial confusion (a wrap-around framing device, with about 90% of the movie in back-flashes, is used).

Michael Clayton (George Clooney) is a "fixer" at a huge law firm. The firm has employed him to keep the dirty laundry clean by bending the truth and covering up scandals. Arthur Edens (Tom Wilkinson) is a well known lawyer at the same firm who is defending the agricultural giant "U-North" in a multi-million dollar lawsuit. During a deposition Wilkinson decides to strip off his clothing and run around the parking lot. Fearing that "U-North" might drop the firm from representing them, they send Michael Clayton to smooth things over and assure them that Wilkinson is fine. In the process Clayton uncovers some startling truths about "U-North" and the lawsuit. Truths that shake Clayton down to his foundation and make him question everything that he knows.

George Clooney is hands down one of the best actors of his generation, in spite of being one of the handsomest as well. I can't think of a film I haven't enjoyed him in. He has an old-time actor feel to him that you just don't see anymore. He makes me remember back to actors like Cary Grant and James Stewart. They were able to play the serious roles and the funny roles, but always came across as powerful. Clooney has proven to be the same. He can play a comedy role in O’ Brother Where Art Thou? and then equally play a serious role in a film like Syriana. If it has Clooney in it, you bet I will be seeing it. I also have to mention Tom Wilkinson who almost stole the show. Ever since his Oscar-nominated performance in In The Bedroom he has made me a fan. You don't want to miss him in this.

Along with great performances there is great directing. This is director Tony Gilroy's first film, which he also wrote. Other films for which he either wrote the story or screenplay are: all three Bourne films, Proof of Life, Armageddon, for which he can be forgive because he also wrote The Devil's Advocate.

For a first-time director, this is the kind of film you want to make. Every scene had purpose and was executed and photographed wonderfully (stunning cinematography by Robert Elswit). The progression and development of each character was thought out and also executed to perfection. However, even though it had great directing, and the acting was outstanding, this film isn't for everyone.

Why isn't this film for everyone? Because it's slow paced and has a complex, detailed storyline that demands your close attention. This isn't your summer blockbuster type of film. This isn't the film to see if you just want some eye candy. However, it is enthralling to the point that you become totally immersed in the story. This is the kind of film, just like Syriana or The Valley of Elah, which you watch if you want to see filmmaking and story writing at its finest. This is the type of film where you watch the character change before your eyes and it makes you want to change as well. It is a thought-provoking film instead of a film where you can just shut off your mind and take a break from reality. I always find this kind of movie more memorable and rewarding. If you take the time to see Michael Clayton, I hope you find it as rewarding as I did.

Obviously, Michael Clayton is a film that serves as an indictment of the heartlessness of contemporary corporate culture and the potential futility of standing up to such a seemingly invincible opponent (which is ironic when you consider that its distributor, Warner Brothers, is part of a multi-national corporate structure itself) and while there is no doubt about the direction of its social and political leanings, it doesn’t merely spend two solid hours of hitting you over the head with them. Instead, it wraps them within the context of an undeniably gripping drama that will keep you on the edge of your seat while watching it and continue percolating in your mind for days after you’ve seen it.

For Gilroy, it marks a remarkable directorial debut and a signal of promising things to come. For Clooney, it is yet another personal and professional triumph that further solidifies his position as one of the most fascinating leading men working in films today. For intelligent moviegoers who have despaired of seeing any adult-oriented dramas that don’t hit you over the head with their obvious story points (what I like to call the “Paul Haggis Factor” [see In the Valley of Elah]), it is a welcome reminder of a filmmaking style that used to be the norm instead of the exception. Or at least that’s How It Seemed from Where I Sat.

What’s it worth?
For film buffs -- the price of the evening shows (twice)
For the average viewer --- matinee price at your local cinema.

Roll credits

Michael Clayton

Writer & Director: Tony Gilroy
Original Music: James Newton Howard
Cinematographer: Robert Elswit

CAST

George Clooney ---- Michael Clayton
Tom Wilkinson ---- Arthur Edens
Sydney Pollack ---- Marty Bach
Tilda Swinton ---- Karen Crowder
Michael O'Keefe ---- Barry Grissom
Denis O'Hare ---- Mr. Greer
Julie White ---- Mrs. Greer
Austin Williams ---- Henry Clayton
Merritt Wever ---- Anna
Ken Howard ---- Don Jefferies
Robert Prescott ---- Mr. Verne
Terry Serpico ---- Mr. Iker
David Zayas ---- Detective Dalberto
Bill Raymond ---- Gabe Zabel
Kevin Hagan ---- Raymond Clayton
Julia Gibson ---- Stephanie Clayton
Sean Cullen ---- Gene Clayton
David Lansbury ---- Timmy Clayton

Fade to black

In The Name Of Truth, Justice and In the Service of A Higher Good, I Remain Your Friend, Movie Reviewer and Spiritual Advisor, Coach Patton

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