A “must see” film for every American, THE REPORT lays bare the truth of actual events of the investigation into the CIA’s Detention and Interrogation Program which was created following 9/11. Written and directed by Scott Z. Burns, THE REPORT is framed around Daniel J. Jones, staffer to Senator Dianne Feinstein, and takes us inside the mind of Jones and his multi-year determination and obsession as he methodically unravels all the details and machinations of the CIA with its “counter-terrorism” programs, destruction of evidence, subversion of the law, and quest to hide the truth from the American people.
Superbly written with award-worthy performances led by Adam Driver as Jones and Annette Bening as Feinstein, THE REPORT is, in a word, riveting. The intricacy of Burns’ storytelling is all-consuming. The level of outrage this story evokes makes the blood boil, the key to which is seeing the investigatory timeline unfold with all of the players and moving parts so cogently presented. Many of us know some of the story behind the investigation and the “report” following the coverage and “reveal” in 2015, but not to the degree which Burns delivers.
As Daniel J. Jones, Adam Driver’s stoic control and unemotionality only to be unleashed into unbridled passion and outrage at key moments is masterful. Particularly affecting and adding a tacit level of gravitas to his performance and this film is that Driver is a former Marine, serving from 2002-2005 as a Lance Corporal for Weapons Company, 1st Battalion, 1st Marines, as an 81mm mortarman. This gives Driver a unique perspective on this story which he brings to the table with an exquisitely internalized performance.
You’ll find yourself doing double takes the minute Annette Bening appears on screen as Senator Dianne Feinstein. Her calm intensity as Feinstein is compelling, but it’s the work of hair and make-up that transform her with such believability that there are moments one would swear it’s actually Feinstein on screen. The consummate professional, Bening is spot-on with her vocal cadence and delivery so as to embody the essence of Feinstein. It will be a travesty to not see Bening at least nab an Oscar nomination for her work here.
Supporting Driver and Bening is an exemplary cast who bring depth and gravitas to the table. Douglas Hodge oozes evil as Jim Mitchell as does T. Ryder Smith as partner in crime Jessen, the two psychologists who championed torture methods and convinced the powers that be that their methods will work on detainees and prisoners of war. As Washington politico climber Denis McDonough, Jon Hamm is charmingly smarmy. From an early scene between McDonough and a then naive Jones, Hamm commands the screen with egomaniacal energy that foreshadows much of what is to come. Nice turns by Tim Blake Nelson and Corey Stoll add to the proceedings with a resonant believability.
But it’s Maura Tierney who adds a frightening edge as the fictional character of Bernadette, CIA overseer and defender of the “Enhanced Interrogation Techniques” program. This is a departure from the Tierney we normally see which just adds to the distaste for the character and the conduct of the CIA. Tierney digs deep, giving Bernadette grit and unflinching resolve. She is chilling.
Interesting is that almost all of the characters in THE REPORT are painted as self-serving manipulators, but for Jones who, thanks to Driver’s performance, truly shows his only goal is in finding the truth and standing up for right and wrong, and human decency.
Just as what Gavin Hood gives us with “Official Secrets”, so does Scott Burns here with another very important piece of history that needs to be told. (And yes, I still want to see the other 6,352 pages of the report.) Constructed so that we meet Jones as he is on the brink of facing legal charges and is speaking with an attorney to discuss his options, this serves as entre into Jones’ story with the attorney serving as a “Devil’s Advocate” eliciting the facts and questioning what Jones swears is the truth. Appreciated is Burns hitting on the Geneva Convention but using that legal reference sparingly in only two scenes so it really stands out. Throughout the film we hear arguments from both sides of the coin, and the aisle, thus giving us a stronger sense of political motivations.
What stands out with the construct of THE REPORT is that it shines more light on how “democracy” and politics works in the US, how the agencies work, how there is no accountability and WHY. Burns really let’s us see the inhumanity of “we the people” as we learn facts about the tortured as well as the inhumanity of our elected and appointed officials in the use and support of EITs. As the character of Feinstein succinctly states, “if waterboarding/these methods are so effective, why perform it 183 times on one man?” Burns also provides great commentary on our officials and the CIA in allowing themselves to be scammed by torture-promoting psychologists Mitchell and Jessen to the tune of $80 million taxpayer dollars.
Lensing is smartly done and beautifully lighted and lensed by Eigil Bryld. There is a stark yet quiet objectivity in the denatured look of the basement vault office where Jones and his team are sequestered. There is a simplicity of camera work in framing and movement, letting the twists and turns of the story serve as the driving focus of the film. There is nothing visually fancy to detract from the story at hand. ECUs of Driver’s Jones and the claustrophobic nature of his actual office outside of the basement vault metaphorically speak to Jones’ sense of ethics with confidentiality. Loving some of those ECUs of Driver as his eyes speak volumes while his face is expressionless. I would not want to be in a poker game with this man. A complete tonal shift occurs with flashbacks of the Al Qaeda “prisoners” as they are tortured by all various means, including waterboarding. Color palette is a sickly greenish-yellow tinge, shadows become heavier, sound design fluctuates in intensity, all fueling the brutality and inhumaneness of what is being done.
Well done integration of archival news footage throughout the film gives even more context to the story.
David Wingo’s score aids in building tension. Again, simplistic in nature but through instrumentation and intensity helps solidify the timeline and the urgency of the situation while never becoming obtrusive.
One of the most important stories in our history and one of the best films of the year, the truth of THE REPORT cannot be ignored.
Written and Directed by Scott Z. Burns
Cast: Adam Driver, Annette Bening, Jon Hamm, Maura Tierney, Corey Stoll, Tim Blake Nelson, Douglas Hodge, T. Ryder Smith, Michael C. Hall
by debbie elias, 09/17/2019
