Movies

‘Good Night, and Good Luck’ CNN live broadcast brings George Clooney’s play to the masses

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In a contrasting timezone setting, on Saturday afternoons in the west and evenings in the east, confrontations between ICE agents and citizens occurred in the streets of Los Angeles. This incident was mirrored by the live broadcast on TV of “Good Night, and Good Luck,” a 2005 dramatic film honoring CBS newsman Edward R. Murrow, from New York’s Winter Garden Theater, by CNN and Max. Making this movie accessible for free to anyone with an internet connection through the CNN website was a thoughtful gesture towards theater enthusiasts, George Clooney admirers, and those intrigued by how a film about television can be transformed into a stage play about television.

As a cinema enthusiast, I’m thrilled about the live broadcast of a play from Broadway, a historic event indeed! However, it’s essential to clarify that while this may be the first live airing, recorded performances of plays have been around for quite some time and are still happening today. I can’t help but wish this practice would become more common.

Currently, PBS.org is offering a fantastic selection of recent productions, such as “Kiss Me, Kate!” by Cole Porter, the Bob Dylan-scored “Girl From the North Country,” David Henry Hwang’s “Yellow Face,” and the Pulitzer Prize-winning musical “Next to Normal.” The National Theater at Home subscription service in Britain provides an abundance of classical and modern plays, including Andrew Scott’s captivating one-man performance of “Vanya” and plays as sought-after as a Clooney production in New York.

And let’s not forget the treasure trove that is YouTube! A simple search can lead you to timeless classics like Richard Burton’s “Hamlet” or the enchanting “Sunday in the Park With George,” starring Mandy Patinkin and Bernadette Peters. These are gifts we should never overlook!

George Clooney and his co-star Anthony Edwards previously took part in a live airing of “ER’s” fourth season premiere, titled “Ambush,” emulating the intense, edge-of-your-seat feel of 1950s television. Interestingly, this was broadcasted twice, once for the East Coast and again for the West Coast audiences. The massive viewership of 42.71 million viewers not only made it a hit but also broke some records, indicating from a financial standpoint, it wasn’t a poor decision (even though critics may not have all the answers).

In the same vein as the mentioned episode, Saturday’s live broadcast served more as a daring spectacle rather than a traditional presentation. While it guaranteed that no edits were made post-production and any potential slip-ups or audience disturbances would be included in the broadcast, fortunately, none of those incidents occurred. However, they could have! The only hiccup I noticed was George Clooney’s stumble over “simple.” Despite this, it allowed viewers at home an exclusive glimpse into a widely talked about and critically acclaimed performance that only a limited number could attend in person. This is something I appreciate on principle and found enjoyable in practice, as it is unlikely to be repeated, except for the final performance of the following day.

The movie, helmed by George Clooney who also collaborated with Grant Heslov on the script, portrays Clooney as the producer and associate of Fred W. Friendly, played by David Strathairn in a memorable role as Edward R. Murrow. In this version, it’s Clooney playing Murrow with more intensity, while Glenn Fleshler steps into the shoes of Friendly. This film was released during the second term of the Bush administration and serves as a contemplation on societal conditions through the lens of 1954 (and a significant speech from 1958 about television), the McCarthy-fueled fearmongering of Sen. Joseph McCarthy, and Murrow’s resolve to challenge him. Similar to the movie, McCarthy is depicted solely through film clips, mirroring how Murrow discredited the senator with his own words. The 1954 “See It Now” episode, titled “A Report on Sen. Joseph McCarthy,” played a crucial role in McCarthy’s downfall.

Entertainment & Arts

For the very first time, CNN is going to stream a real-time performance of a Broadway play this coming Saturday. The production, titled ‘Good Night, and Good Luck,’ is based on George Clooney’s 2005 movie, with Clooney himself portraying CBS newsman Edward R. Murrow on stage.

This play presents a blend of political intrigue and behind-the-scenes action, infused with a hint of office romance through the characters of Ilana Glazer and Carter Hudson’s secretly married Wershbas. The story is more confined within CBS News than the depicted film, and it was initially relevant in 2005, before network news was significantly impacted by the internet and political administrations that threatened and sued legitimate media.

However, discussions about habeas corpus, due process, self-censoring media, and the growing problem of “both-sides-ism” in modern media seem strikingly current. In the play, Clooney’s portrayal of Murrow expresses his strong opposition to this view, stating, “I can’t accept that for every story, there are two equal and logical sides to an argument.” This mirrors Murrow’s real-life approach, where he provided McCarthy with equal time on “See It Now,” but it ultimately served as a noose for the senator.

While contemporary stage performances with their technologically advanced, modular components can mimic the pacing and transitions seen in films, there’s no denying that a movie offers a unique storytelling experience, thanks to its use of camera angles and editing techniques. It’s almost like watching a carefully crafted puzzle, pieced together from various fragments. In contrast, a stage play unfolds in real-time, giving you the freedom to focus your attention wherever you choose within the confines of the single view (though this can vary based on your seat location). The illusions it creates could be likened to stage magic – carefully planned and executed performances that actors must repeat night after night, infusing emotion into lines they exchange, yet projecting them to the very last corner of the theater.

George Clooney, with his deeply lined forehead mirroring that of Murrow’s, didn’t strive to replicate him entirely or maybe did so within the boundaries of dramatic presentation; he was grave and impactful in the role, though not quite reaching the tranquil perfection displayed by Strathairn. Scott Pask’s design, a clever modular setup of office areas with a control room at its back, adjusted lighting-wise to fit requirements; an elevated stage left accommodated the jazz band and vocalist. As in the film, these musicians performed songs whose lyrics occasionally wittily commented on the action. Despite being confined to two dimensions by television, the broadcast retained a sense of authenticity and excitement; director David Comer opted to focus the camera on the actors instead of employing an overabundance of close-ups and scene transitions in pursuit of a cinematic feel.

In essence, the stage adaptation largely mirrored the movie’s plot, but it underwent some adjustments such as reordering scenes, redistributing dialogue, and condensing characters to enhance clarity. Additionally, certain elements were inserted to emphasize specific points or cater more directly to a 2025 audience. One character, portrayed powerfully by Don Hollenbeck (Clark Gregg), expressed a sense of being taken over, likening it to “reasonable people going to Europe and leaving us behind.” The play also questioned the boundaries between news reporting and commentary, asking what might occur when someone other than Edward R. Murrow is in charge. A swift sequence of clips showcasing the deterioration of television news and politics was incorporated into Clooney’s closing speech. This included notable events like Obama’s controversy over his tan suit, the Association Press being barred for not complying with Trump’s Gulf of America edit, and Elon Musk’s infamous straight-arm gesture that resembled a Nazi salute.

In conclusion, let’s not forget about the audience at the Winter Garden Theatre, who joined in with laughter at the jokes and cheers for the grand speeches, directly from Murrow’s own words. And finally, the curtain call serves as a reminder that no matter what transpired prior, the performers are content, basking in your admiration, leaving you uplifted, excited, and maybe even hopeful.

A CNN roundtable followed to bring you back to Earth.

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2025-06-08 07:31

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