At this point I’ll watch Bryan Cranston do anything, which is why I went when I had a chance to see him in Trumbo, directed by Jay Roach. Diane Lane is always exquisite, and Louis CK’s in it too!
This film felt long. It’s about two hours and fifteen minutes. It took me awhile to warm up to the characters. I’m a big Louis CK fan, but it took me awhile to buy him in a dramatic role. (He gets there, don’t worry.) Though the whole film felt somewhat rigid at first, it does warm up and pick up so that it is not dragging at the end. While I left the film feeling satisfied, I still think it could’ve been edited more aggressively.
Politically, the “red scare,” and McCarthyism is a fascinating and disturbing (and ongoing?) part of US history. It doesn’t take much to engage me on the topic. Yet, I had a hard time getting into this film. That said, it is worth watching. Because it picks up. Because it’s beautiful. Because it rises to something interesting and important.
Now, let me break it down. First, the smoke. These people are smoking constantly, and the cinematographer is having some fun with it. There are these glorious shots of white smoke swirly slowly and intricately around people’s faces. There’s a smoke shot toward the end that is absolutely over the top. Thick white smoke swirls through each grain of thick, gray mustache hair, and it’s both repulsive and lovely and artful.
And on that note, I’ll also talk about Bryan Cranston’s physicality—something I think he’s understood for his entire acting career. (I first noticed it in his Malcolm in the Middle days). He, more than anyone, knows the power of an ordinary middle-aged man wearing tighty whiteys, and he’s not afraid to use it.
Finally, the design. This was L.A. in the 1940s and 1950s. Every couch, every glass of water, and every earring is on point. I was busy watching the design elements while I waited for characters to develop and the plot to pick up, and that was more than enough to keep me satisfied.