Trumbo (B) Movie Review
Trumbo stars Bryan Cranston as prolific 1950s screenwriter/communist Dalton Trumbo, who faces a wide amount of prejudice and scrutiny for his political beliefs. He is jailed, told he cannot work again, and is investigated by the government because of suspicion he may be teidd with Russia, as all this takes place during the Cold War.
If Trumbo is indeed a flawed film, it is certainly a good bit of fun. As a piece of entertainment, Trumbo works marvelously. Examining its craftsmanship proves the film to be less marvelous. Still, anchored by a rollicking performance by Bryan Cranston, this is a good time.
Mr. Cranston turns in a very strong performance as Dalton Trumbo, a communist that is fiercely loyal to his own country, and wishes to see his First Amendment rights protected under the same organization that created them. Bryan Cranston's strength lies in the way he peels back layers of Dalton Trumbo with subtle precision, bringing his character from a state of strong vehemence to the realization that not everything he wants to accomplish can be so done with his assumed ease. He delivers his fair share of empowering speeches about freedom and expression, which he does well and with energy, but also gets a chance to shine in a more emotional way that resonates when Trumbo is with his struggling family.
The supporting cast is fine, though they're not given nearly as much to do. Helen Mirren turns in a decent, but one-note performance (the script doesn't really allow for more) as an influential Hollywood journalist/ex-actress who would love to see Dalton Trumbo locked up for a long time. She's fine but her SAG nomination seems very excessive. Elle Fanning, who gave some of the greatest acting of the current decade in the underseen Ginger & Rosa, delivers a surprisingly touching performance as Trumbo's eldest daughter, another radical activist. John Goodman provides for a good amount of comedic relief in his role.
Where the film truly stumbles, though, is in its oversimplified moral aspect. Director Jay Roach portrays all of the lead roles as black and white in their beliefs, with such little room for doubt. Roach also pushes you forcefully towards his own point of view. It's clear from the get-go that as audience members, we are with Dalton Trumbo and on his side. The moral aspect of the film is too simple and familiar.
And when the film is too simple and familiar, it's not subtle. As I mentioned, Roach pushes you towards what he wants you to feel with little grace. I don't want to use the phrase "beat over the head" because it sounds very harsh and I don't mean to sound too harsh, but you are beat over the head with Trumbo's speeches and musings on what's wrong and what's right. Eventually, Louis C.K.'s character says something to the effect of, "Why do you have to say everything like it's going to be chiseled into a rock?" and it was kind of nice to see the filmmakers at least acknowledge that this was happening.
Speaking of the filmmakers, the direction of this film was hot and cold for me. Jay Roach certainly wasn't subtle but he also crafts Trumbo into a film that is highly educational and informative without the audience even realizing it. Roach sustains the energy and quick pace of this film quite well. Perhaps it's because his background is in comedy but Trumbo works magnificently as entertainment. Roach also captures the 1950s Hollywood aesthetic well and in creative ways that I won't give away.
Biopics are always tricky. Should you focus more on the person or what that person represents? Sometimes it's difficult to tell. Trumbo chronicles the life of its titular character decently, but its morals are too simple to grapple with. The film tries to focus on both the person and the person's significance, but never fully succeeds.
But as entertainment goes, you could do a lot worse. Bryan Cranston is charismatic and his performance is wise and complex. Anchoring him is a solid supporting cast and a zippy, fun energy that refuses to die down. Even if Trumbo isn't nearly compelling enough, it's much too fun to resist.
FINAL GRADE: B
MPAA RATING: R for language including some sexual references
If Trumbo is indeed a flawed film, it is certainly a good bit of fun. As a piece of entertainment, Trumbo works marvelously. Examining its craftsmanship proves the film to be less marvelous. Still, anchored by a rollicking performance by Bryan Cranston, this is a good time.
Mr. Cranston turns in a very strong performance as Dalton Trumbo, a communist that is fiercely loyal to his own country, and wishes to see his First Amendment rights protected under the same organization that created them. Bryan Cranston's strength lies in the way he peels back layers of Dalton Trumbo with subtle precision, bringing his character from a state of strong vehemence to the realization that not everything he wants to accomplish can be so done with his assumed ease. He delivers his fair share of empowering speeches about freedom and expression, which he does well and with energy, but also gets a chance to shine in a more emotional way that resonates when Trumbo is with his struggling family.
The supporting cast is fine, though they're not given nearly as much to do. Helen Mirren turns in a decent, but one-note performance (the script doesn't really allow for more) as an influential Hollywood journalist/ex-actress who would love to see Dalton Trumbo locked up for a long time. She's fine but her SAG nomination seems very excessive. Elle Fanning, who gave some of the greatest acting of the current decade in the underseen Ginger & Rosa, delivers a surprisingly touching performance as Trumbo's eldest daughter, another radical activist. John Goodman provides for a good amount of comedic relief in his role.
Where the film truly stumbles, though, is in its oversimplified moral aspect. Director Jay Roach portrays all of the lead roles as black and white in their beliefs, with such little room for doubt. Roach also pushes you forcefully towards his own point of view. It's clear from the get-go that as audience members, we are with Dalton Trumbo and on his side. The moral aspect of the film is too simple and familiar.
And when the film is too simple and familiar, it's not subtle. As I mentioned, Roach pushes you towards what he wants you to feel with little grace. I don't want to use the phrase "beat over the head" because it sounds very harsh and I don't mean to sound too harsh, but you are beat over the head with Trumbo's speeches and musings on what's wrong and what's right. Eventually, Louis C.K.'s character says something to the effect of, "Why do you have to say everything like it's going to be chiseled into a rock?" and it was kind of nice to see the filmmakers at least acknowledge that this was happening.
Speaking of the filmmakers, the direction of this film was hot and cold for me. Jay Roach certainly wasn't subtle but he also crafts Trumbo into a film that is highly educational and informative without the audience even realizing it. Roach sustains the energy and quick pace of this film quite well. Perhaps it's because his background is in comedy but Trumbo works magnificently as entertainment. Roach also captures the 1950s Hollywood aesthetic well and in creative ways that I won't give away.
Biopics are always tricky. Should you focus more on the person or what that person represents? Sometimes it's difficult to tell. Trumbo chronicles the life of its titular character decently, but its morals are too simple to grapple with. The film tries to focus on both the person and the person's significance, but never fully succeeds.
But as entertainment goes, you could do a lot worse. Bryan Cranston is charismatic and his performance is wise and complex. Anchoring him is a solid supporting cast and a zippy, fun energy that refuses to die down. Even if Trumbo isn't nearly compelling enough, it's much too fun to resist.
FINAL GRADE: B
MPAA RATING: R for language including some sexual references