Directed by:  Michael Mann
Written by:  Michael Mann, Eric Roth
Based on the article by:  Marie Brenner
Starring:  Al Pacino, Russell Crowe, Christopher Plummer, Philip Baker Hall
 

November 7, 1999

        Ever wonder about the story behind the blurred guest on 60 minutes?  You know, the one with the mumbled voice who looks like a shadow for one reason or another.  Michael Mann emerges us into the life of one of these people in his new film The Insider.
     Jeffrey Wigand (Crowe) has valuable information that could seriously hurt the tobacco industry.  We all know the tobacco industry in evil, so what is it that he has to tell that we don't already know?  It's not what Wigand has to tell that makes The Insider so intriguing.  Mann emerges us into the life of Wigand and the 60 Minutes producer, Lowell Bergman (Pacino), who wants him to come forward with his information.
        Wigand must deal with the inner struggle of doing the right thing at all costs.  He's faced with losing his career, as well as his family.   Early on, we learn that he's the kind of guy who says what's on his mind, yet doesn't communicate well with the people in his life.  The realism and the way the characters are presented draws you in.  When Wigand's wife finds out he was fired, her first concern is the house payments and their medical coverage.
         We also get emerged into how a 60 Minutes producer gets the big interviews.  Bergman relies on his reputation and must uphold that people can take him at his word.  He's willing to fight for what he believes in, even if it is an uphill battle, which of course the tobacco company presents.
            The suspense in the film makes you keep asking how far will the tobacco companies go to stop the truth.  But it's more than that, this isn't just the average conspiracy film.  Mann lets you identify with these characters by concentrating on their struggles, and not the conspiracy.  This is based on true events of course, and even if you remember what happened in the 60 Minutes report, nothing is really ruined because we're getting to see what went on behind the closed doors at 60 Minutes and CBS.
        Mann's direction stands out, from the vibrant color of the film, to his use of close ups.  At certain times throughout the film, the camera focuses on Wigand, on his face, on his eyes while he stares into space, while he's thinking, while other people are trying to persuade him.  Spielberg seems to overuse this in his films, yet Mann does it with subtlety which lets us in on Wigand's internal struggle.
        Al Pacino gives a good performance not overplaying Bergman.  The part was well written for one.  The best part comes during a conversation with Mike Wallace near the end where he tells Wallace his intentions, and they both know what he means.  No yelling, no big speech; the delicate handling of this scene works because Wallace and Bergman have worked together for 14 years, so they know each other.
        If you saw Heat, you know Mann likes to make long films.  The Insider runs about 2hrs. and 40mins, but it's a tight film.  Every scene is there for a reason, and it doesn't feel long since you are emerged in these characters.  Other films of the news genre have given us a look into how the industry works, how it's business oriented.  The Insider gives us a fresh perspective since it concentrates on a producer, and not the reporter or writer.

Alternative Recommendations: Heat (d: Mann, s: Pacino), Serpico (s: Pacino), Network, All the Presidents Men

-Reviewed in Theater-
 

Another Look Inside: 
Major Plot Points Revealed Below

Actors Crowe and Pacino (middle)  next to the real Wigand and Bergman

December 18, 1999

        When I walked out of this film tonight after my second time viewing it, I felt inspired.  The Insider let me realize that there is hope for humanity; Bergman and Wigand kept their integrity, their beliefs when faced against great odds.  Wigand lost his family, but helped millions of people with his information.  Bergman, the man of his word, quit his job for his beliefs, his belief that his word was no longer good because it was ruined by CBS.
        This is also one of those films where I saw things I didn't see the first time.  The one scene I couldn't figure out the significance of the first time I saw it was the one near the end where Bergman goes in to the diner and talks to the FBI agents who say they're geologists.  It was obvious this time though that they were staking out the Uni-bomber and Bergman was getting the jump on the story.
          This just shows how much Bergman loves his job.  Even after he lost his fight and knew he was going to quit,  he still fights for the next story because he loves his work.  Bergman , in a sense, is the tragic hero.  He reminds me of another tragic hero that Pacino played, Frank Serpico.
        In case you missed the classic Serpico, Frank Serpico was a police officer back in the 60's who refused to take bribes even though many of the other cops were.  He fought for the honest cop who became an outcast because of his/her beliefs.  If I'm not mistaken, Internal Affairs, the police of the police, was created because of Serpico's efforts.
         In many ways, Bergman and Serpico are alike.  Both stand their ground and refuse to back down.  Bergman never quits fighting for Wigand and believes in journalistic integrity to the point of quitting his job.  Serpico will not be bought and takes a bullet for it.  Both are betrayed by someone they trust.  Bergman is betrayed by his long time friend Mike Wallace.  While Serpico is betrayed by the politicians who promise him that his testifying will be worth something, more than just bringing down a few flunky cops.
        Serpico is one of my favorite films, having a lot to do with Pacino's portrayal.  Although Sidney Lumet, the director (who also directed Dog Day Afternoon with Pacino) fools around a little bit with structure, he's basically a straight forward story teller; he doesn't possess a visual style.  Michael Mann, on the other hand, not only tells a story the audience can identify with, but also makes his film visually stunning.

Nominated for
7 Fidelio Film Awards

Winner of
1 Fidelio Film Awards

Best Dramatic Feature	Best Director Michael Mann
Winner of Best Adapted Screenplay Michael Mann,  Eric Roth	Best Cinematography Dante Spinotti
Best Editing William Goldenberg, David Rosenbloom, Paul Rubell	Best Actor Russell Crowe
Best Score