Good Night And Good Luck Analysis

With the introduction of televised broadcasting came a tremendous power for edifying, distracting, and manipulating the audience and therefore the nation. One well-spoken man alongside his dedicated staff recognized and successfully harnessed this power in its infancy to criticize and by extension encourage their audience to question the dishonest, fear-driven tactics of one Senator Joseph McCarthy. A historical drama set in 1953 entitled “Good Night and Good Luck” follows the story of famed CBS news broadcaster Edward R. Murrow, co-producer Fred Friendly, and reporter Joseph Wershba as they resist corporate and sponsorship pressures as well as disparage the Senator’s methods for attempting to rid the government of supposed Communist elements.

This defense comes in the form of a show dedicated to attacking McCarthy and his reckless fear tactics. In response, McCarthy falsely accuses Murrow of practicing communism in the act of retaining a membership with the Industrial Workers of the World, a leftist union, which results in an incredibly public, televised feud between the two very influential men. In the face of potentially serious consequence, the CBS crew presses on with gutsy determination that ultimately pays off in the form of striking a profoundly hindering blow to McCarthy’s credibility and consequently his influence. In addition to the dramatized acting of David Straithairn, George Clooney, and Robert Downey Jr., the film includes clips of real historical footage such as bits of McCarthy’s speeches and the interrogation of Annie Lee Moss, a Pentagon communication worker who stands trial for accusations of communist affiliation after an undercover FBI operative claims to have read her name on a list of individuals paying dues to the American Communist Party. In line with the recurring theme of justice and true patriotism, Murrow defends her right to at least meet in person her accusers; in line with the themes of apprehension and prudence associated with

The aim of collecting and presenting these series’ of clips that represented the real, ugly side of McCarthy was to turn his words against him, so he would be forced to argue with his own past utterances. The first series of clips collected for the initial show casting the Senator in a negative light, upon review led Murrow to proclaim in reality as well as film, “The terror is right here in the room.” Dauntless, he then retires to the solitude of his office in order to assemble the commentary, being careful to address the Senator with more respect, justice, and class than can be expected in return. When viewed today, the techniques used by Murrow and Friendly for their report on McCarthy are no longer groundbreaking and unique, as countless successors have adopted the proven-effective format. However, unlike today, the previously radio-based Murrow puts more credence and vitality in the spoken word than most modern reporters. Furthermore, to ensure that the views of himself and Friendly are accurately delivered and less subject to misinterpretation, he requests the permission of the viewer to read from his carefully written script. While this may seem like an