The law firm can’t afford any negative publicity—a corporate merger is in the works—so Clayton is tasked with reclaiming Edens’ notes and minimizing the fallout from Edens’ breakdown. Clayton’s slow awakening to the reality of U/North’s criminality challenges him to rethink his career trajectory. Will he risk standing alongside Edens, whom the company dismisses as worthy of being committed, even if that means squandering an impeccable reputation? What if that reputation has been earned at the expense of people’s lives and health?
Although law-firm partner Marty Bach (Sydney Pollack) tries to assuage Clayton’s growing misgivings about his role at the firm, the smooth-talking Clayton is shaken by Edens’ claims and the documentation supporting the plaintiffs’ allegations against U/North. Clayton’s shifting motivations stand in contrast to those of U/North’s in-house Chief Counsel Karen Crowder (Tilda Swinton), who, to protect her own professional advancement, ignores the clear evidence against her firm. She sends goons to take care of Edens before a potential settlement in the case unravels and her career ambitions take a hit.
Michael Clayton is a film with many strengths. Clooney inhabits the title role with a fitting weariness; his smirking, sex-symbol image is subdued, allowing Clooney’s acting chops to dominate. Swinton, the most memorable performer in Walden Media’s blockbuster adaptation of The Lion, the Witch, and the Wardrobe (she played the White Witch), puts on a stoic face for the firm while suppressing the increasingly desperate, illegal actions she oversees. The superb cinematography by Robert Elswit (Good Night and Good Luck, Punch Drunk Love, Magnolia) complements Gilroy’s solid direction and writing, making for a strong awards contender, and, more importantly, a thoughtful, entertaining night at the movies.
Questions? Comments? Contact the writer at crosswalkchristian@earthlink.net.
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