Election day is approaching, and George W. Bush is competing for reelection. Mary Mapes (Cate Blanchett), producer of CBS' 60 Minutes, is fueled by story, striving to stay one step ahead of the crowd by asking questions to reveal the truth, and for her latest project -- investigating the suspicions that Bush received preferential treatment for his time in the Texas Air National Guard during the Vietnam war -- she pulls out all the stops, hand-picking her crew (Topher Grace, Dennis Quaid, Elizabeth Moss, Bruce Greenwood) and continuing collaboration with highly revered news anchor Dan Rather (Robert Redford). When the crew discovers documents that indicate Bush's failure to show up for his physical or any training, and a period of absence following a transfer to the Alabama Air National Guard, they pounce, trying to check sources and make their piece as airtight as possible. Mapes and everyone else knows that this could very well influence the election.But the problem with getting a "juicy piece of brisket", as it is labelled in Mapes' emails, is that sometimes you see what you want to see. Though two out of four document examiners come back with inconclusive proof that the documents are real, the story is pushed to be released as quickly as possible to get its peak audience. Dan Rather eloquently presents the findings to the public in 60 minutes, but after a momentary bask in the glory of primetime success, red flags start popping up: internet bloggers and media outlets begin challenging the authenticity of the documents, claiming they can be recreated on Microsoft Word. And to make matters worse, it comes out that the source that Mapes got for the documents lied.
What unfolds is a battle between a group of people who don't want to be wrong and a group of people who want to prove someone wrong -- something quite common in today's society. The film is not without its bias (but let's be real -- what narrative isn't?); But regardless of the factual truth about the events that the film is based on, it captures the emotions of the situation quite well. There does seem to be a near deification of Dan Rathers, who serves as Mapes' father figure; one could suppose that since the protagonist holds him up on a pedestal, the move makes sense, but it drags the pace at times.
The interesting thing about this movie is that, while it is terribly biased, it still teaches us a lesson about journalism. It may not be the intended lesson, but it is a lesson nevertheless: always consider the bias of the journalist behind the story. In this case, the journalists may not have even realized their bias, but it still begs the point: regardless of someone's intentions, there will always be a filter through which you see a story. You just have to decipher what that filter is.
Blanchett carries the film with the confidence and zest she brings to the role; and a nod must be given to Grace, who seems to have come a long way since That 70s Show. While it may not be the flick of the year, TRUTH is certainly entertaining, and it does cause you to pause and think a bit. TRUTH is now playing at the Midtown Cinema! A little
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