SPOTLIGHT (2015)
Directed by Tom
McCarthy
Spotlight Films, 129
minutes, R (Sexual abuse themes)
* * * * *
The best film of 2015 is playing at a mall near you, but
it's not titled Star Wars. Avoid the
long lines, costumed geeks, and Gen Xers reliving their childhoods, and see Spotlight, the film about how a team of Boston Globe reporters blew the whistle
on pedophile priests. Forget films such as Mystic
River, Gone Baby Gone, and The
Departed, the biggest organized crime syndicate in Beantown was the Roman Catholic
Church.
Spotlight takes
its name from a column produced by Globe
investigative reporters. In 2001, four of them–Walter "Robby"
Robinson (Michael Keaton), Michael Rezendes (Mark Ruffalo), Sacha Pfeiffer
(Rachel McAdams), and Ben Bradlee, Jr. (John Slattery) ––were at work on their
usual shtick of exposing corrupt cops and crooked pols, when two things happened: Father John Geoghan
was arrested for child abuse, and the Globe hired a new editor, Marty Baron
(Liev Schreiber). Though a cheerless soul, Baron was a breath of fresh air
across Back Bay–a man with a serious nose for news, a non-native unimpressed by
insider complacency, and a Jew in a Catholic town. To Baron, Geoghan
smelled like something cast from the middle of the barrel, not a single rotten fish, and he
was right. Before the Globe collected
a fistful of Pulitzers in 2003, more than 290 pedophile priests were fingered–a
stunning one of seven within the Archdiocese of Boston. Even more distressing
was that that a decades-long cover-up took place with the full knowledge of one
of the most powerful prelates in North America: Cardinal Bernard Francis Law. Spotlight tells the sordid tale of how
the Church's power, wealth, and cozy relations with Boston elites swept pedophilia
under the rug.
Star Wars made
more money in advance sales than this film has made since November, but Spotlight should be must-see viewing for
all Americans. Many have stayed away because–let's face it–pedophilia is a distressing
subject. Several friends have told me they couldn't watch a film about kids
being abused. Rest assured–you won't.
Director Tom McCarthy steers well clear of all things graphic or salacious. There are no ominous
scenes of priests hovering over little boys, no shadowy reenactments, and no melodramatic
music presaging a child in danger. Spotlight
is about the investigation, not the activity, and most of the action takes
place inside the Globe, not inside the
Church. It is, in essence, this generation's All the President's Men, Alan Pakula's 1976 drama of the Washington Post's investigation of
Watergate. There's even a Deep Throat-like character, whose identity I'll leave
you to discover. By extension Spotlight is
a warning about the dangers of theocracy.
After all, the Church needed cooperation from other social institutions,
including both City Hall and the pre-Marty Baron Globe, to maintain its house of cardinals. In other words, this
film won't traumatize you, but it will make you quake with righteous anger.
Speaking of righteousness, Spotlight depicts a Catholic Church in the throes of a
might-makes-right ethical crisis. This means it's a film about mental and
spiritual abuse as much as physical violation. The Church's overarching grip helps
us understand the many years of silence by the abused and their families. Imagine
growing up in a world in which, as one victim put it, attracting the attention
of a priest was like having God personally speak to you. In many ways, the
power of the Church was analogous to the grip of the Mafia–there are some things
about which one simply does not speak. Getting a glimpse of power's ebb and
flow is reason enough to see Spotlight.
And seeing how that power erodes in the face of corruption, awakened
conscience, and calcified practices (such as celibacy and sacerdotalism) is
another. As for breaking the silence, muse upon the anger of working-class
adults from South Boston who have never set foot on Beacon Hill being lied to
by the very institution that promised eternal reward.
This is, after all, a movie, so are there filmic reasons to
watch? Plenty. First of all, it's well directed. I would think Spotlight a lock for the Best Picture
Oscar, and McCarthy has to be the odds-on favorite for Best Director. We know how this ends. If I might, it was
in all the papers. McCarthy's greatest trick is to keep us on the edge of our
seats for a film filled with memes hurtling toward a foregone conclusion. It is
so artfully done that we seldom notice when McCarthy pulls out the usual stops:
near dead-ends that conveniently resolve, tearful confessions, lifted veils of
fear, overcoming giant obstacles, beat-the-clock triumphs….
Unless I miss my guess badly, numerous cast members will
join McCarthy on the Oscar podium. Mark Ruffalo is absolutely superlative and
should win as Best Actor. Both Keaton and Schreiber are likely Best Supporting
Actor nods, and McAdams might snare (and would deserve) Best Supporting Actress
honors. The entire ensemble is so good that, by necessity, several stellar
performances will be overlooked, so give a shout out to Billy Crudup as Church
legal fixer Eric MacLeish, and Stanley Tucci as victims' lawyer Mitchell
Garabedian.
But also watch this film so you understand why America needs
newspapers. A healthy republic requires an informed and skeptical public. Ask yourself
what blogger or TV reporter could have done investigative reporting analogous
to that of the Globe. Even devout
Catholics should be grateful to the Spotlight team. Draw a line from this story
to Pope Francis (though he's yet to discredit the odious Cardinal Law). Put
simply, without newspapers, the Monsters win. Put down that plastic light saber
and educate yourselves, Citizens.
Rob Weir