‘She Said’ Is an Absorbing Historical Record With Lasting Impact

‘She Said’ Is an Absorbing Historical Record With Lasting Impact

By Lynn Venhaus
“She Said” is a brilliant chronicle of a watershed moment in American society — an important tipping point that helped launch the #MeToo movement and gave voice to countless victims.

In October 2017, two New York Times reporters Megan Twohey (Carey Mulligan) and Jodi Kantor (Jodi Kantor) broke the shocking story about sexual assault in Hollywood, able to get women on the record about powerful producer Harvey Weinstein’s three decades of abuse, shattering years of silence and altered American culture forever.

Framed as a scrupulous workplace account of two driven working mothers juggling their journalism careers and their young families, filmmakers infer that they helped make the world a better place for their daughters.

The absorbing narrative is as accurate as possible about journalism and the need to tell such important stories. Through vivid revelations, they show how much courage it took for people to come forward, risking their reputations and livelihoods.

With laser focus, director Maria Schrader has meticulously built a riveting drama from a sharp, incisive script by Rebecca Lenkiewicz, who adapted the 2019 nonfiction bestseller “She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement” by New York Times reporters Megan Twohey and Jodi Kantor.

The filmmakers’ skill and concern detailing a reporter’s process and a newspaper’s commitment to seeking the truth without any sensationalism or exploitation has resulted in a historic record that is in the same league as “All the President’s Men” and “Spotlight.”

The cast is stellar across the board, with Zoe Kazan, as persistent Jodi Kantor, and Carey Mulligan, as resilient Megan Twohey, presenting each reporter’s dogged determination, integrity, and professionalism. 

As an energetic team, they pound the pavement tracking down sources who worked for Miramax and The Weinstein Company, arrange meetings and convince people to trust them with the evidence. Women who were actresses, production assistants and employees agreed to go on record, and these truth tellers caused an explosion felt from coast to coast once articles were published in 2017.

Kantor and Twohey, who are still at the Times, won Pulitzer Prizes for their work here, along with Ronan Farrow, whose work at the New Yorker was going on at the same time.

But while the aftermath is brought up as the film’s coda, this 129-minute film stresses the diligent meat-and-potatoes work that exposed the insidiousness of rampant sexual harassment in Hollywood, and how broken the system was for women.

Schrader makes sure we hear powerful men shouting at the women, trying to intimidate them, but she also uses real voice transcriptions.

While it may not be as explosive cinematically as superhero adventures, the theme of right vs. might hits hard from people not wearing capes but whose guideposts are truth and justice. Patricia Clarkson plays conscientious Times editor Rebecca Corbett and Andrew Braugher portrays no-nonsense executive editor Dean Baquet as they make crucial decisions in covering the substantial allegations.

Fine actresses portray the brave past Weinstein employees who described his predatory sexual misconduct including Jennifer Ehle as Laura Madden, Samantha Morton as Zelda Perkins, Angela Yeoh as Rowena Chiu. Ashley Judd, who broke the dam by publicly coming forward, plays herself.

Important voice work is done by Mike Houston as Weinstein, Keilly McQuail as Rose McGowan and James Austin Johnson as Donald Trump. Johnson is best known for his interpretations on “Saturday Night Live.”

As the supportive spouses, Tom Pelphrey plays Megan’s literary-agent husband Vadim “Jim” Rutman and Adam Shapiro is Kantor’s fellow Times writer, columnist Jim Lieber. They add the emotional element of how difficult life-work balance is.

Composer Nicholas Britell’s dramatic score heightens the tension as people connected to the Weinstein empire confirm information and a deadline looms.

How many women have been helped or validated because of this story? Truly astounding what happened five years ago, and what continues. After their initial probe, more than 80 women accused Weinstein of crimes. Now a convicted rapist, the disgraced mogul eventually was sentenced to 23 years in prison and is currently on trial in another case.

“She Said” is so well-made and convincingly acted that it can’t help but continue much needed conversations at work and home. It’s an information-packed procedural with lasting impact.

“She Said” is a 2022 biographical drama directed by Maria Schrader and starring Zoe Kazan, Carey Mulligan, Andre Braugher and Patricia Clarkson. Rated R for language and descriptions of sexual assault, its run time is 2 hours, 9 minutes. It is in theaters Nov. 18.
Lynn’s Grade: A

‘Georgetown’ Intersects Murder Mystery with Theatrical Politics

‘Georgetown’ Intersects Murder Mystery with Theatrical Politics

By Lynn Venhaus
The movie shows its cards right away: “This story does not in any way claim to be the truth,” we read on the screen. “Nonetheless, it is inspired by actual events.”

Washington D.C. social climber Ulrich Mott (Christoph Waltz) has conned his way into the upper echelons of politics and society, including marrying wealthy and much-older widow Elsa Brecht (Vanessa Redgrave). When she is found dead one evening after a triumphant dinner party, her daughter Amanda (Annette Bening) suspects foul play. The police investigation will uncover a large web of deception.

As we’re immersed into D.C.’s political maneuvering, we see the slick grifter Mott ingratiating himself with movers and shakers. The charming Mott is being hailed as “Lawrence of Arabia with a Blackberry,” regaling stories of his diplomatic exploits to the doyens of society.

Remarkably, his schtick works – until it doesn’t, but he can sure spin whoppers. In a truth is stranger than fiction way, “Georgetown” looks at the power plays in Washington D.C., where an ambitious German-born swindler can bamboozle the smart and important. And it’s a remarkable story how he got as far as he did – if we are to believe it all.

Based on the 2012 New York Times article, “The Worst Marriage in Georgetown,” by Franklin Foer, the film shows how Albrecht Gero Muth took advantage of Viola Herms Drath, a journalist, author, advisor to public figures and a wealthy widow. Although their names have been changed, the story is a tragic and bizarre true-crime headline.

Playwright David Auburn, who won a Tony Award and Pulitzer Prize for “Proof,” has adapted the sordid events into a dark comedy but the tone isn’t consistent, and there is little insight into the odd flim-flam man’s schemes and backstory.

In real life, Muth was 44 years younger than Drath and was convicted of her murder in 2014. You can dig deeper into that case on your own if you want more reality context.

As for the marriage, the movie offers a ‘familiarity breeds contempt’ scenario – a couple’s close relationship that disintegrates as more of Muth’s deceit is revealed.

Waltz, winner of two Oscars, and Redgrave, winner of one, delectably tango when she’s done with his charade and he’s not pretending to be devoted. They can make a three-course meal out of scenery chewing – and it’s fun to watch. Waltz also directed.

Not so fortunate is Annette Bening, whose Harvard law professor daughter character is underdrawn and is reduced to glaring at Mott with total disdain every time she’s on screen which isn’t much.

Because Redgrave, now 84, is playing a 91-year-old journalist, we see her sharp mind at work. The legendary actress might have slowed down but she’s still one of the best.

With such a lauded cast, you expect the outcome to be better but the film runs out of gas – maybe it’s because Mott is such an odd, pathetic character. It’s the kind of role that gave Waltz a film career, and he’s good at playing a schuyster. But even this guy can’t drum up any sympathy.

It is funny, however, when he’s donning an eye patch, claiming of service in the French Foreign Legion and as a brigadier general in the Iraqi Special Forces.

The attorneys are practically rolling their eyes over his antics — one of them being the exceptional Corey Hawkins, frustrated by Muth’s grandiosity and his clear-cut motives.

The movie was made in 2018, premiered at the 2019 Tribeca Film Festival, and is finally out now. Not sure what that all means, and while it has its flaws, the story is intriguing  – and just to see Redgrave and Waltz tussle is worth it.

“Georgetown” is a 2019 true crime drama directed by Christoph Waltz and starring Waltz, Vanessa Redgrave and Annette Bening. Rated R for language and brief sexual material, with a runtime of 1 hour, 39 minutes. It was available Video on Demand beginning May 18.
Lynn’s Take: B-