April 26, 2009: State of Play
State of Play is what you might call a crackling little story about journalists and politicians, and what happens when people’s secrets come out. It’s an entirely serviceable film, if nothing remarkable, which makes me want to see the six-hour British miniseries from which it was adapted.
I can’t help but enjoy watching Russell Crowe work, because you can tell that even though he has kind of a gruff personality in real life, he’s totally an actor and immerses himself in any part he plays. From his Oscar-winning turn in Gladiator, to his turncoat tobacco executive in The Insider, the mentally ill professor in A Beautiful Mind, and even going back to his psychotic robot SID 6.7 in Virtuosity many years ago, we see that he can inhabit whatever role he’s given, and doesn’t mind giving up the conceits and good looks of fame for a part. Playing a grizzled old-school print journalist here isn’t exactly a stretch, but as I say, it’s fun to watch.
The story concerns a politician (played by a passable but somewhat young-for-the-role Ben Affleck) who becomes involved in a scandal involving a woman who has been killed, and how the little-known long-ago/long-time friendship between Affleck and Crowe force both of them to consider whether their allegiances are more strongly aimed towards their careers or their often-strained relationship. Affleck’s wife (it’s good to see Robin Wright Penn on screen – I haven’t seen her in much lately) figures strongly in this, and a catalyst for the action is the young web reporter (Rachel McAdams) who works for the newspaper who is assigned to look into the story. Jason Bateman also shows up in a brief supporting role, a break from type for him but not as over-the-top as I’d been led to expect.
I’m kind of conflicted about this movie. I certainly can’t recommend it as anything special, but it’s good entertainment. Ben Affleck is credible as a congressman even if, approaching 40, he can still pass easily enough for 20-something. Helen Mirren brings some weight to the proceedings as the newspaper editor. The traditional plot progression towards a romantic link between Crowe and McAdams is wisely avoided. The overall thrust of the plot is solid. But at the same time, the movie doesn’t break from convention at all. In fact, it’s almost disturbing how it clings to the tried and true plot devices and cliches, when there’s clearly so much more potential. I imagine the contrast with the miniseries will be fascinating.
See the miniseries and then judge.
Post a Comment