Michael Clayton

Last year, I only managed to get my sorry ass into a movie theater a few times. Less than a dozen, I think; can’t even remember why anymore. One of those times was for Michael Clayton. I enjoyed it, I recognized its successful qualities, especially several of the performances, but it didn’t quite resonate with me as a filmgoer. It didn’t sink in. I didn’t even review it. But the more I thought about it, the more it seemed to be a very strong and moving story, well told and admirable. I even put it in my top five of the year, despite my lack of intensity regarding its impact on me at the time. Now that it’s received seven Oscar nominations and been re-released into theaters, I had an opportunity to see it once more (thanks, Jen!) with a new perspective...and the true strength of this film has finally sunk in.

I mentioned the performances; I knew they were good the first time, but now I’m simply amazed at what these actors did with their roles. Tilda Swinton completely disappears inside Karen Crowder...her insecurity, her sense of responsibility, and guilt, and inability to feel comfortable with anything she’s doing, good or bad. I hardly know what to say about Tom Wilkinson; he’s always good, and a british actor playing an american (which he does often), as well as portraying a serious chemical imbalance, is certainly going to acquire a lot of critical praise...but he’s doing so much more than that. There is such depth to his character; his performance is a great deal more than the mechanics of mental instability. Even the supporting actors without Oscar nominations - Michael O’Keefe, Merritt Wever, the young Austin Williams as Michael’s son Henry, the always wonderful Sydney Pollack...they make a strong impression, and without them the movie wouldn’t carry the weight it needs to.

And of course, there’s the man himself, George Clooney...he gets away with playing a lot of characters using his natural (and naturally overflowing) charm and charisma, like the Ocean’s Eleven series...none of that is in evidence here. I’m pretty sure he doesn’t smile once throughout the entire movie. Everything Michael Clayton is dealing with, all the trouble resting on his shoulders, is clearly evident in every expression, every movement Clooney makes. The film ends with an extraordinarily long take as he sits in the back of a moving taxi, his very soul on display; he seems to be reliving every heart-crushing moment of the story we’ve just seen play out. It’s the kind of thing you never see an actor do; merely sit there and be, in character. This is not George Clooney the heartthrob, the gotta-love-him movie star; this is Clooney the actor...and I’m truly enthralled by what he does in the role.

So what is there to say about the screenwriting, the direction? There’s a plethora of plot events and story points, but I wouldn’t call it intricate. It’s the kind of story that could easily end up convoluted and useless, but Tony Gilroy is better than that. He brings you into it, tells you everything you need to know...there are no secrets, no twists, no sudden surprises that bring everything to new light. It’s all right there, and you’re with him every step of the way. There is tension even when you’ve already seen what happens next, and I’m still trying to figure out how he did that. It’s simply a great way to tell a story, and I admire this experienced screenwriter for taking on his own script as a first-time director. That shows a lot of passion for the film, a true understanding of what he wants to get across and how to do so. It’s definitely something any filmmaker would aspire to.

I’m glad I was able to see this a second time, and in the theater, and with someone who was certain to take notice of the great performances. When seeing a good film a second time, it’s nice to share it with someone who’ll have a strong and unique perspective. That way, you know you’re not saying to yourself, "Gee, this really is good; why didn’t it sink in before?" Instead, you learn to appreciate what you knew was there but didn’t quite feel, and you have someone who can impart a more comprehensive first-time experience. It’s never as simple as just seeing a movie; not for me, anyway. If it were, I couldn’t possibly be writing this.

Go see Michael Clayton, before the Oscars! And tell me what you think!