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doomonfilm · 5 years ago

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Review : Richard Jewell (2019)

I was a sophomore in high school when the Olympics came to Atlanta, Georgia, and with the World Cup having just been in the United States two years prior, Americans were eager to put their best foot forward. The world was changing rapidly at the time, and the 24 hour news cycle was just beginning to present itself, though we had yet to name it or identify how it would be so powerfully influential. Then, in one fleeting moment, a random bomb changed all of that, and a man went from being a security guard to public enemy number one in the blink of an eye. Clint Eastwood has always had an eye for humanity, especially when in the director’s chair, which piqued my interest when it was announced that he would be taking on the previously mentioned story in the form of his latest film, Richard Jewell.

In 1986, a young Richard Jewell (Paul Walter Hauser) meets attorney Watson Bryant (Sam Rockwell), and the two men form a bond that Jewell was unable to make with any of the other attorneys and partners that he worked for at the firm. Ten years later, Jewell has landed a job as a security guard at Piedmont University, which finds him closer to his dream of a job in law enforcement. After repeated reports of abuse of power, however, Dr. W Ray Cleere (Charles Green) is forced to fire Jewell, who transitions into a job as security for the 1996 Olympic Games in Atlanta, Georgia. Shortly after midnight on July 27, Jewell breaks up a group of drunk and unruly teens, but notices a suspicious package in the form of a backpack that was near the ruckus. Jewell urges the officers on location to call in the package, and when the bomb inspector investigates, he discovers three extremely large pipe bombs. Jewell and the authorities attempt to clear the area, but the bomb explodes, injuring or killing over one hundred people. Jewell is initially seen as a hero, but after Atlanta Journal Constitution reporter Kathy Scruggs (Olivia Wilde) coerces a tip out of FBI Agent Tom Shaw (Jon Hamm), she runs a story identifying Jewell as the primary suspect, causing worldwide attention to be cast upon Jewell and his mother Bobi (Kathy Bates). With the help of Bryant, Richard Jewell attempts to fight attacks from the FBI and the news media, all in hopes of clearing his name.

Richard Jewell manages to provide a redemption portrayal for its titular subject without completely absolving him of base humanity or the capacity for wrongdoing. Rather than presenting a case for specifically absolving Jewell of past accusations and completely clearing his name, the film reaches for the bigger goal of setting an example of how wrong things can go when those accused find themselves guilty until proven innocent. It is flatly stated that Jewell could, in theory, fit the ‘false hero’ narrative, and due to being a Southern man with dreams of a role in law enforcement, his knowledge of guns, bombs and criminal personalities harm him more than help him. Most of all, his weakness is his kind nature, and his defensive mechanism of trying to trust in the law becomes the dramatic tension that cause Bobi and Walter pain, which in turn forces Jewell to the breaking point of having to stand up for his innocence.

Interesting, as evenly as Clint Eastwood decides to posture his protagonist, he is unflinching in the manner that he positions the government and the media squarely as antagonist. Be it the constant drone, presence and forceful nature of communication in the form of the media, or the calculated power bundled with sheer intimidation that the FBI utilizes, both parties (as entities) are looked at quite subjectively. The characters of Scruggs and FBI Agent Shaw are not completely devoid of empathy, though Shaw does seem to be fighting his own battle over pride in his job and whether or not he will be viewed as competent, to the point that he blindly seeks the indictment of Jewell. Watching Bates play Bobi on the verge of breakdown due to her lack of ability to protect Richard from this dual threat hits hard, hence her Golden Globe nomination.

Eastwood makes some interesting decisions as director that work well conceptually. The visual flare, fancy camera moves and hectic editing that defines most biopics is set aside for measured camerawork, allowing the story to be the sensation rather than the way it is presented. The choices of what is presented as stock footage, like Tom Brokaw or the Katie Couric interview, play like echoes of times when media was simpler and easier to trust, while the portrayal of Scruggs and the AJC staff, the horde of reporters, or even a recast Bryant Gumbel (Garon Grigsby) using ‘gotcha journalism’, play like personal indictments on these institutions and practices. The muted, reserved way that the film qualifies as a period film is different than normal... period specific dress, haircuts, vehicles and the like are around, but the way that reflections on the era are used narratively, like the Michael Johnson scene, play much stronger. The sensationalist hunger of the media and their search for the next big story is also referenced, with nods to TImothy McVey, OJ Simpson and Ted Kaczynski all popping up. The film also manages to find ways to present humor, with most of it being found in the funny moments that manage to pop up in the extreme moments of life.

Paul Walter Hauser finds a curious rhythm that mostly involves him embodying the news media portrayal and public perception of Jewell, with brief but powerful outbursts of emotion that reveal fear in a shell-shocked man. Kathy Bates embodies all of the motherly support that can be captured and displayed on film, with a handful of powerfully emotional moments of her own that resonate long after the film is done. Sam Rockwell’s natural charm and offbeat nature work well in his portrayal of an anti-establishment attorney, with him showing an ability to focus force both vocally and with intense staredowns... Nina Arianda works well in tandem with Rockwell, providing a strong and supportive sense of guidance that pushes Rockwell’s character in the right direction. Olivia Wilde finds a unique balance of her own as a comedicaly straight antagonist, posturing in extreme ways while bolstering the choices with a matter of fact nature, all the while keeping a touch of humanity in the chamber for the resolution-based moments. Jon Hamm puts another notch on the ‘charming villain’ belt, somehow managing to be an intimidating good cop in comparison to Ian Gomez and his standard look and operation as an FBI agent. Appearances by Niko Nicotera, Mike Pniewski, Dylan Kussman, Wayne Duvall, Garon Grigsby and Charles Green round out the film.

Clint Eastwood continues to rack up a strong directoral catalog, and Richard Jewell stands as evidence of this. The potential director in me noticed a couple of mistakes that modern directors probably would have erased in the post, but these mistakes just further enforce the old school aesthetic that Eastwood uses. With the film itself being an echo of a recently bygone era, all of this works to Eastwood’s benefit... this one won’t be cracking my top ten, but it is certainly worth seeing.

#ChiefDoomsday #DOOMonFILM #ClintEastwood #RichardJewell #PaulWalterHauser #KathyBates #SamRockwell #NinaArianda #OliviaWilde #JonHamm #IanGomez #NikoNicotera #MikePniewski #DylanKussman #WayneDuvall #GaronGrigsby #CharlesGreen

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