"The Downfall of Television": Clooney's Perspective on the Corruption of America's Mass Media

By Brian Carroll

[1] Without question, Good Night, and Good Luck tackles the controversial issue of McCarthyism and the resulting Communist scare in America during the 1950s; however, it also, less explicitly, speaks volumes about the media and its changing climate. In a pivotal scene outside of CBS President William Paley’s office, filmmaker-actor George Clooney plots the film’s two main protagonists in a vital discussion regarding the future of their newscast and television as a whole, in turn exposing truths about the entertainment industry throughout the era.

[2] From the moment the scene begins, there is an air of uncertainty undeniably present. As Edward R. Murrow (David Strathairn) stares blankly into the distance waiting for his associate Fred Friendly (George Clooney) to join him outside of Paley’s office, the larger than life figure -- formerly portrayed as having all the “answers” -- is now cast in a new light: one of anxiety and doubt. Having been essentially demoted to an hour-long program on Sunday afternoons, Murrow is figuratively shattered. The reputable news anchor is forced to deal with the sad reality that television has become more about entertainment value than educational potential, making him both uneasy and ashamed of the medium and how it has devolved since its inception. Simply put, high ratings and profitability have become the only goal, people want to be amused, not lectured (to paraphrase Paley) -- a notion that still holds true in the media industry today. Friendly acknowledges this disheartening state of television as he suggests to Murrow, “Lets do our first show about the downfall of television” (1:24:32).

[3] Though they have their backs against the wall -- visualized by Clooney’s cut to a long shot of the duo in the lobby in which they appear miniscule and powerless -- Murrow and Friendly refuse to be silenced and pledge to “go down swinging” (1:25:00). This segment is especially crucial to one of the film’s key messages, as it suggests that rebellion is an absolute necessity in preserving and sustaining democracy. The two pioneer journalists recognize the immoralities and injustices that have penetrated America’s social and political atmosphere and they understand their obligation to expose such indecencies to the American public. They therefore resolve to challenge the status quo and defend what is right, even if it results in the loss of their jobs.

[4] Clooney builds support for his character’s defiance by utilizing real, stock footage of President Eisenhower delivering a classic speech on Democracy -- an intriguingly effective cinematic technique. As Murrow and Friendly walk past the camera, the audience is left to focus on two small television units thunderously promoting the powerful words that reinforce the film’s underlying ideals. Eisenhower roars, “We are proud first of all because from the beginning of this nation man can walk upright. . . . He can walk upright and meet his friend or his enemy. And he does not fear that because that enemy may be in a position of great power . . . that he can be suddenly thrown in jail . . . with no recourse to justice” (1:25:22).

[5] While this statement is actually in reference to the dangers of the military-industrial complex that arose in the 1950s, there is a noticeable parallel in Eisenhower’s words to Murrow and Friendly and their defense of rich, educational television. In particular, Eisenhower speaks of men walking upright to meet their enemy, which is exactly what the two newsmen have resolved to do. They have chosen to stand up to the executives who look to censor their work, but, more importantly, they are not afraid because of the obligation they believe they have to the public, their country, and the promotion of its founding principles. While Eisenhower’s words indirectly praise the newsmen for their bravery, they also criticize the television industry, which has figuratively jailed Murrow and Friendly, with no recourse to justice, by displacing them from primetime television. This relocation to a less favorable time is in direct violation of our nation’s founding principles as it punishes those who stand up for what is moral and correct. It truly shows how far both television and society have degraded, and it suggests that matters will only become worse unless the public steps up to intervene. After all, as Murrow reiterates throughout the film, “history will be what we make of it” (01:25:31).

[6] Illuminated high above a sea of people and pitted against a pitch-black background -- a technique used by Clooney to assert dominance and highlight the film’s heroic figure -- Murrow delivers the film’s final words of wisdom in a segment that further speaks to Good Night, and Good Luck’s overall purpose. Condemning the industry for its persecution of informative television and its movement towards junk programming, Murrow divulges that the problem is not so much with society as it is with money-hungry executives who think they know what the public wants. He argues, “To those who say, ‘People wouldn't look, they wouldn't be interested. They're too complacent, indifferent and insulated,’ I can only reply: There is, in one reporter's opinion, considerable evidence against that contention” (1:26:59). For Murrow, television has truly become a tragic medium. That is, the American people desire and appreciate edifying material but have been misinterpreted by the large networks, forced to digest trivial programming that does little to tug at the veil of ignorance naturally covering society's gaze. By not challenging the status quo or following in Murrow's and Friendly's footsteps, society will continue to be unfulfilled by the medium.

[7] Clooney, whose beliefs regarding the state of television are embodied by Murrow’s character, explicitly places Murrow on this pedestal to praise the journalist for his defiance one final time and to encourage viewers to act in a similar manner by asking the difficult questions and challenging the status quo. As the filmmaker contends, television can inspire and teach, but unless individuals are determined to work towards those ends, “it is merely wires and lights in a box” (1:27:35). This powerful closing line incites action and forces viewers to consider the state of media in contemporary times, where, upon reflection, it becomes clear that amusement is still treasured more than education. This sad but true fact highlights Clooney’s entire purpose for creating the film: to inspire and encourage a steady movement back to the way television was in its infantile, golden years before it ultimately became corrupt and frivolous.