Michael Mann’s The
Insider is a smart, adult, corporate thriller that I gain more from every
time I watch it. I remember seeing it in the theater at age 14, sitting next to
my old man as he whispered to me what was happening, the fancy language of the
film consistently going over my head. I’ve always loved The Insider, but lately, I’ve become obsessed with its cinematography,
immaculate writing of such dry material, and the details packed in it. Perhaps
more than any of Mann’s films, The
Insider best encapsulates his insistence on not treating the audience like
idiots. You really have to pay
attention to this film to fully grasp everything that’s going on.
I typically cover already-popular films in this “No One
Talks About” series, but my sincere hope is that this post motivates some to
check out this somewhat forgotten masterpiece. Enjoy!
I mean, really, who other than Michael Mann would open a
movie with a 20 second POV shot from behind a blindfold?
The economy of Al Pacino’s movements in this film is
something I’m going to discuss a lot. Watch the way Lowell Bergman (Al Pacino)
clumsily sits down in this chair. You really believe he’s blindfolded. That may
sound like odd praise, but how many movies do you watch where blindfolded
characters move as if they can see?
The way Pacino responds “Yeah, thank you,” when asked if he wants
coffee. It’s as if he legitimately didn’t know someone else was in the room
with him.
The way the light outside is quickly underexposed so we
can see the city in this shot. Trust me, this is not an easy thing to
accomplish in half a second in-camera.
The introduction of Jeffrey Wigand (Russell Crowe) tells
us everything we need to know about him. While coworkers lap it up with
birthday cake and punch in one room, Jeffrey is hidden in the dark, solemnly
packing his briefcase.
The great Dante Spinotti is the credited cinematographer of
the film, but Mann himself did the majority of the camera operation, which
means he was the guy who literally lugged the camera around as it rolled. He
said this was important for shots like these, where the camera is mere inches
from the actor’s face. He had established a trust with his actors, and felt
that being the closest person to them during a live take was important.
The security guard talking into his mic as Jeffrey was by.
And the slow motion.
The first thing Jeffrey does when he gets home is pour
himself a stiff drink. He doesn’t even say hello to his wife (who is drinking a
glass of wine outside in the middle of the day). I love what this says about
Jeffrey and his wife.
The way Jeffrey smiles at his daughter. It’s a brief but
important signifier that he’s a good and wholesome man.
Seriously, the character introductions in this film are
superb. Look how Diane Venora glides into the room with her spotless blouse and southern accent. She looks
and sounds so different here than she did as Pacino’s wife in Heat.
The way Jeffrey fumbles with the breathing device as his
daughter suffers an asthma attack.
Jeffrey explaining the scientific reason why his daughter is
having an asthma attack. One: he’s a very caring father who knows that the
best way to talk to kids is not to talk down to them. Two: this dude knows his
shit, he’s an expert scientist who can explain complicated things simply.
Jeffrey leaving dinner so he can go buy soy sauce from the
store. The man is crumbling.
Another great introduction: the great Christopher Plummer as
the great Mike Wallace. The jacket, the tan, the voice – perfect.
Mike getting all riled up before the interview. Man’s got
stones.
Lowell: “Are you ready? Or do you wanna keep fuckin’ around and
warm up some more?”
Mike: “No. I’ve got my heart started.”
First question: “Sheikh Fadlallah, thank you so much for
seeing us. Are you a terrorist?” Stones.
Oh, by the way, Sheikh Fadlallah is played by master
chameleon, Cliff Curtis. That man can blend in.
Lowell’s journalistic curiosity literally perking up after
Jeffrey’s wife says Jeffrey doesn’t want to talk to 60 Minutes.
The tedium of Lowell and Jeffrey’s tense fax exchange.
There’s an earned patience to the scene that modern technology would eliminate.
Pacino preparing to catch his glasses before they fall.
That’s such a Pacino thing, that economy of movement. Like the gum in Glengary Glen Ross.
Jeffrey taking a step away from the window after there’s a
knock on Lowell’s hotel room door.
Another Pacino moment of movement. I love the way he grabs
the documents and gives them the briefest of looks before handing them over to Jeffrey. I can’t fully explain why I
love these choices Pacino makes. They just feel so real.
Mike: “Are you eating with us?”
Lowell: “Yeah.”
Mike:
“Wear a tie so they let us in the front
door.”
The way Michael Gambon (playing Thomas Sandefur as a perfect
creep) refers to Jeffrey in the third person with Jeffrey in the room.
This scene ranks among the finest acting Russell Crowe has
ever done. With his former boss questioning his integrity (and borderline
threatening Jeffrey’s family), Crowe barely
conceals his inner volcano that is about to erupt.
Who other than Dante Spinotti could make a scene at a
driving range one of the photographical highlights of a film?
What impressive, silent acting from this guy. His physical
command of space is so intimidating.
Lowell strolling
into frame at Jeffrey’s home. And the rain. And that look.
One of the main things I love about Michael Mann’s writing
is that it is packed with detail, without explicitly commenting on the details.
For example, Lowell travels all over the world, day-to-day, night-to-night. In
the first 40 minutes of the movie, we see him trek to the Middle East for a
story, to his home in California, to Kentucky to meet Wigand, to New York to
produce, and back to Kentucky to meet
Wigand. THAT’S the life of a TV news producer. We never see Lowell on a plane,
nor does the film offer any setting title cards to establish where we are. It’s
all in the details.
Jeffrey: “My father was a mechanical engineer. The most
ingenious man I ever knew.”
Lowell: “Well my father left us when I was 5 years
old he was not the most ingenious man I ever knew.”
Again with the accuracy. This is Michael Mann, shooting a
professional actor (Colm Feore) in the cockpit of a flying plane, because… why
not?
Lowell holding out the word “shit” as he hangs up with Richard
Scruggs (Colm Feore). Pacino and phones, man.
The staging of scene where the FBI take control of
Jeffrey’s home is impeccable. Their presumptive questions, the stealing of
Jeffrey’s computer, Jeffrey falling over in the yard; all scored to Gustavo
Santaolalla’s “Iguazu.” Masterclass stuff.
And Lowell’s heated reaction to the FBI’s behavior is a
perfect showcase for Pacino’s rage.
“You better take a good look, because I’m gettin’ two things: pissed off, and
curious!”
Liane Wigand’s (Diane Venora) mortified reaction when she
discovers Jeffrey is going to be taping with 60 Minutes.
Mike: “Who are these people?”
Lowell: “Ordinary people
under extraordinary pressure, Mike. What the hell do you expect, grace and
consistency?”
The “Holy shit, we got it” reaction of Lowell’s assistant,
Debbi (Debi Mazer, who is great in the film), during the taping.
The pause Russell Crowe takes before his excellent delivery
of “Poor communication skills.”
The spat Jeffrey and Liane have at the kitchen sink. Such a
real moment.
In terms of cinematography and editing, the scene where
Jeffrey walks through the airport with his new security team is my favorite
sequence in the film. The overexposed light of the opening shot, the frantic
pace, the slow motion of Jeffrey walking toward the camera, the security team
expertly moving a potential threat out of the way – I love how the scene
captures the efficiency in which cautious men move.
The Attorney General of Mississippi, Michael Moore, playing
himself.
Great stealth oner (a long take disguised to not look like a
long take): Colm Feore’s compassionate monologue in which he stresses to
Jeffrey that he understands what he’s going through. Length: 57 seconds.
Jeffrey: “Fuck it, let’s go to court.”
Scruggs (without
missing a beat): “Dr. Wigand would like to leave now.”
Bruce McGill fucking going
for it during the court scene. Proof that there are no small roles.
Jeffrey and Lowell sharing a pleasant laugh after court.
It’s one of the few times we see either of them fully smile in the film.
The collective awe in the CBS editing bay after everyone
watches the rough cut of Jeffrey’s segment for the first time. Plummer even
seems to get a little emotional.
Jeffrey whimpering as he realizes his wife has left him.
Crowe unleashes a quiet emotion throughout this film that we haven’t seen from
him before or since. It’s miraculous.
When The Insider
was released in 1999, Gina Gershon was known for playing sexpots in flicks like
Showgirls, Bound and Face/Off. I
love that Mann gave her a chance to flex her true dramatic chops in The Insider by playing Helen Caperelli,
a hotshit CBS lawyer.
Lowell’s reaction to Helen explaining “tortious
interference.”
Lowell: “‘Tortious interference.’ Sounds like a disease,
caught by a radio.”
Very few directors, let alone mainstream Hollywood
directors, have the nerve to open a new scene with a shot like this.
Anyone who has worked in an office knows what this is like.
You’re told one thing in a big room (in this case, that Lowell’s segment is
still looking good), and then told something completely different in another
room moments later (in this case, that Lowell needs to cut an edited version of
the segment). In real life, this is boring shit, but somehow Mann makes this
one of the most compelling scenes in the film. Pacino is on fucking fire here.
And how great is it that Mann holds on Pacino for 40 seconds
while he goes off? Why cut away from gold?
The defeat in Lowell’s eyes when Mike sides with CBS
corporate.
This brief scene of the investigator talking to Jeffrey’s
ex-wife, which pays off in a creepy, blink-and-you’ll-miss-it scene in Jeffrey’s
school a few minutes later…
The lengthy segment of Lowell going behind CBS’ back to
defend Jeffrey. Lowell asks the Wall Street Journal to hold their story on
Jeffrey, he hires his own investigative team, talks to the Associated Press,
talks to The New York Times – he’s a man on the move, and Mann makes you really pay attention in order to grasp
everything that’s happening. Again, details.
Christopher Plummer’s brilliant decimation of Helen Caperelli
and CBS News President, Eric Kluster (Stephen Tobolowsky). “‘Mike. Mike.’ Try ‘Mr. Wallace.’” How Plummer failed
to nab an Oscar nomination here is beyond me. A competitive category that year,
I know, but come on.
Again, what mainstream director would light one of the
biggest movie stars in the world this way? Yet, it absolutely works. You’re right there on that beach with him.
This master shot.
“‘I’m Lowell Bergman, I’m from 60 Minutes.’ You know, you take the ‘60 Minutes’ out of that sentence, no one returns your phone call.”
This delicate scene between Pacino and Plummer, in which
Mike quietly berates Lowell. It’s some of the best acting either has ever done.
Another amazing bit of behind-the-scenes corporate politics.
“YOU FUCKED US!”
“NO! You fucked
you! Don’t invert stuff.”
This is masterful staging. As Lowell watches the unedited
segment in an airport, the camera cuts to a handful of people watching the
segment. Now, look at this master shot that concludes the scene. If you look
carefully, you can see all of those people staged perfectly in the frame. This
is the type of shit that compels me to make movies. It’s so immaculately staged
and executed; nothing short of awe inspiring.
Lowell and Mike sharing one final look before Lowell walks
out of 60 Minutes. Two old comrades,
torn apart by corporate fear, but always maintaining respect.
And finally, the insanely slow motion closing shot of Pacino
walking away from 60 Minutes. The
flipping of the collar, the music – what is there left to say?
More No One Talks About Posts
Michael Mann is a master and certainly a filmmaker that knows how to create mood and not make things easy. It's been years since I've seen this film but I hope to see it again and maybe do something on Mann very soon.
ReplyDeleteGreat stuff man, I completely agree. Would love to read a post of yours on Mann.
DeleteI love when you do these posts. I haven't seen The Insider, but if I do, I know what to look out for now.
ReplyDeleteThanks! I hope you have a chance to check it out sometime. It's so, so smart.
DeleteOooh I was desperately hoping for that Bergman Birthday director post... but this is still great :D Insider is such a gem.
ReplyDeleteSoon enough on Bergman - I promise! So glad you're a fan of The Insider.
DeleteBelieve it or not, I've never seen The Insider. It's been in my watchlist for quite some time (along with a thousand other movies). Your post might just be my cue to finally give it a shot...
ReplyDeleteNevertheless, great work (again)!
Thanks! It's definitely one worth checking out. Only gets better with multiple viewings.
DeleteSomething has prevented me from watching this one. Not sure what it is, but I just haven't gotten around to it. Needless to say, you've renewed my interest in it. Great job!
ReplyDeleteThanks Dell! Be curious to hear your thought on this one.
DeleteYES YES YES! My favorite film by Mann and one of my favorite films in general. Whenever Wigand's daughter turns her head to look at him after seeing his interview with 60 minutes on TV, it just tears me up.
ReplyDeleteNICE! So happy you're such a fan of this film. I absolutely adore it. I think Heat will always be my favorite Mann film, but I think The Insider is his actual best.
DeleteThis movie is so fantastic! I never even really heard people talk about it and I don't know why. It's so gorgeously made and the performances are incredible - plus the story is powerful. It pretty much has everything. So many nuances you've noticed here. Really makes me want to watch this again.
ReplyDeleteSo happy you like it! It is a bummer that it isn't discussed more. Kind of got lost among Mann's filmograhpy. But it's such a genius film.
DeleteMan, I need to watch this movie again. That scene with Bruce McGill in the court room is one of the great examples of how an actor can just nail a small part. Mann always does such a great job in casting the supporting characters in his films.
ReplyDeleteOh for sure, Mann's casting is always on point. And McGill... man, he just totally goes for it in that scene. I love it.
DeleteI really need to watch this movie again soon. It's definitely one of my favorites from Michael Mann. Hopefully he can come back with something great like this again soon and less movies like Blackhat.
ReplyDeleteNice man, I love finding fans of this films. And while I am a defender of Blackhat, I agree it is lower tier Mann, especially when stacked against The Insider.
DeleteAlex, you're my hero.
ReplyDeleteFirst, I honestly had no idea that was Cliff Curtis until this post. Thank you. Second, I love how you spotlight Pacino's performance here, especially his physicality, because I think the magnificence of this one has been lost in the wake of many people assuming latter day Pacino is just a hollerer.
Also, the "is this Alice in Wonderland?" That line and his reading of it has been echoing a lot in my head in 2016.
Nice man, so glad you like the post and this film. DUDE, I had no idea that was Cliff Curtis either until this post.
DeleteWe're definitely in an "Alice and Wonderland" time right now. This year has been chaos.
I don't currently have an account here but in case you still read comments on your site, this is a brilliant exploration of some of the finest points about this film and it inspired me to seek it out and watch it again. Thank you.
ReplyDeleteThank you so much for this comment, I really appreciate it. I tend to focus on ore "popular" films in this series, but I absolutely love The Insider, and it was so fun diving deep into it. THANK YOU again!
Delete