No truly balanced biographical drama should not be taken into account by the founder of Roger News, Roger Ailes, with affection or sympathy. As Showtime's "The Loudest Voice" will open, the fictional version of the conservative media chief, played by Russell Crowe, does not show any indication that he either does not want to predict aloud he knows how he will be reminded: " right, paranoid, fat "
This time is also a tip for Orson Welles and "Citizen Kane," as it dramatizes the moment when Ailes fell dead in May 2017. If the viewer is satisfied with this vision or considers it a tragedy it does not seem to be The worry of Tom McCarthy. As in real life, it is a time not colorful for mourning or even karmic justice, they give the death of a cloud of accusations of sexual harassment that have not yet been resolved.
At that time, Ailes had also created a means force that changed the country irrevocably to the right and took control of the narrative of a nation, not only in regard to current news and information, but also to the rewriting of history and our interpretation of the fact. The objective of his life had been achieved, the damage done.
A range of legal documentation, some seals and some public documents, establish the legacy of Ailes as a fact based on harassment, exploitation, manipulation, dishonesty and pure racism, and that It only refers to its impact on television journalism. "The Loudest Voice" shows Ailes exercising a level of psychological control of Svengali-esque about the women that surrounded him, some of whom touched, while others, that is, Fox's earlier anchored , Gretchen Carlson, fought.
And, as the most successful product of Ailes, this seven-part limited series, which will debut on Sunday at 10:00, is a purpose-oriented creation aimed at a very close audience. Not liberal, not conservative, but the industry rewards the juries. Prosthetic work alone should be enough to make the make-up artist Adrien Morot a leader in the Golden Globes and Emmys next year, if anyone remembers "The Loudest Voice" at that time.
Russell Crowe's transformation into Ailes has been well-narrated until now, and the amount of latex accumulated to the actor to make it look like the jolly, Ailes corpulent is really impressive. But the true masterpiece of Morot is the transformation of Sienna Miller into wife of Ailes, Beth, who achieved with such ability that Miller completely disappears into the synthetic skin of her alter ego.
In the four episodes that were reviewed, Miller portrays Beth as a woman who may not be an accomplice in the great crimes of Ailes, but at least reached an agreement with the devil. Renouncing his professional career to please Ailes gives him a life of security and wealth in an exclusive exclusive enclave, as long as he does what he has said and close his eyes to his offense. Miller's look surpasses the impressive entrance of Naomi Watts as Carlson, although, to be fair, watts Watts' time reaches the last three episodes.
By the way, when a review drives praising the makeup, this should tell you something.
"The Loudest Voice", adapted from the book by Gabriel Sherman 2014 "The Loudest Voice in the Room", is a series designed to show the type of man that Ailes was and how his vengeful and personalized personality is going Expand yourself through a cable news network. that few expected to be successful in 1995, when the series will begin.
Today, as we know, Fox News configures the current policy of the administration instead of merely selling a war at the request of the president, as it did during the years of George W. Bush. But beyond the time of opening, when McCarthy (who won the Oscar for "Spotlight") sets Ailes's marketing information strategy to defeat CNN and MSNBC by creating a product A platform that favors conservation and called it as news, the series would become more savage than illuminating. .
That said, "The Loudest Voice" basically does what he should do, which is to show the admirable interpretive abilities of the team, in particular, of Crowe. The winner of the Globe and Oscar is part of the pugnacious and piggy character of Ailes as cleverly as could be predicted.
And while Crowe does not visibly enjoy playing the villain, it puts a sufficient level of complication in his representation to help the viewer understand why people like the Fox News bookstore, Laurie Luhn (fragile devastating Annabelle Wallis), would continue to be faithful to such a weak mauve, even when forced to maintain it sexually.
"The Loudest Voice" returns to the scenes that open the jungle of worms, which are testimonies of levels of power intermediation that go beyond party loyalty, a practice primarily of appearance.
Any number of films and television series on politics do so, but this version shows the awareness of the moment in which it is transmitted and how its dialogue can be perceived. Fox News is not likely to be a way or another in the series's impact on the legend of Ailes: once again, the damage is already in use. He has done, but an exchange between Ailes and his strategist, David Axelrod (David Cromer) on Joe Biden, could make some people in the camp of the former president stay awake.
"A lovely man," says Ailes, from Crowe, "but Joe is as stupid as an ashtray."
Axelrod explains that Biden plays well where the Obama campaign needs him: "Catholics, union individuals, military -" and Ailes interrupts to say more clearly: "White people. He plays well with white people." What the founder of the network understands, since there is a complete strategy of Fox. In this sense, it seems that now is Biden, in the current race.
Crowe's performance becomes darker and worse, and his shame contrasts well with the behavior of Seth MacFarlane, making the evolution of Fox News chief, Brian Lewis, from # 39; An assault on the net towards a man increasingly worried about the division tactics. Simon McBurney hides around the sides like Rupert Murdoch, but Murdoch is mostly there to object to Ailes taking things off a bridge too far until the hack machine becomes too lucrative. to complain.
In case you ask, Megyn Kelly does not play any role in the series, and Bill O'Reilly only mentions in the context of paying her victims of harassment to keep them silent. Neither does it feel absent.
The more ahead the plot to "The highest voice", history becomes less deep. The episodes became the main watermarks in the history of Fox News, as they have to do, beginning with its release and examining the transformative effect of September 11, the Aean modeling of Sean Hannity and submerging herself in her manifest racial animation towards Obama.
But soon sexual misconduct and sexual manipulation of Fox's boss eclipsed the rest of the action, which could be understandable considering the continuity of all allegations against him.
However, the "Loudest Voice" approach leads to dramatizing these ugly chapters that raises the question of who is about this drama. Those who despised Ailes could respect, at least for a moment, the effectiveness of their business vision, explained briefly in the first episode. But this public can quickly get tired of bile and deaf himself through the series between episodes of screams and mockery. People who like Fox News and Ailes probably will not see; those who do so can pick up perverse entertainment at the time of seeing the great man order Wallis' Luhn in his "uniform", a set of black lingerie with tabs, even if they arrive He forces them to endure a sacrilege.
It is also worth the trouble to ask what part of Hollywood's current fascination for Ailes is driven by its convenient role as a place for Harvey Weinstein and the indignation of their abuses instead of any indicator that the public wants to remember who was Ailes.
Later on, John Lithgow will play "Fair and Balanced", directed by Jay Roach ("Recount", "Game Change") and co-starring Charlize Theron as Megyn Kelly and Nicole Kidman as Gretchen Carlson. This is a theatrical release scheduled for December, the heart of the awards season, and its competitive potential is much more important for its producers than the one that wins at the box office.
Or they should wait for it to do so: Alexis Bloom's documentary "Divide and Conquer: The Story of Roger Ailes" earned critical criticism, but raised $ 38,510 at the box office and was Launched in 13 theaters. Different situations, of course; Bloom's is a direct treatment of Ailes's effective effects on traditional media with his right propaganda machine that observes the traditional rules of non-fiction cinema, a forum that may not be adapted A man quoted in "Loudest Voice" as declaring: "Lines are for chicks."
Even before the release of this new movie, a major obstacle that may have to overcome "The highest voice" is the exhaustive saturation of our political and social reality as we know it. It is important that Crowe's representation is capable and passionate, that he has the ability to make an angry spectator in a moment and that he traverses the skin in the next, if he does not say anything about the disgust of Ailes?
Probably less, I imagine, that the fact that his death has not stopped the breaking effect that his machinery has on democracy, as we know it. "The Loudest Voice" is one of the many works that offer us the rage that surrounds us today; What is written does not matter. Whether it's fiction or fiction that is allowed through journalism that the creation of Ailes is still sold, food is the same: Roger Ailes has died, Roger Ailes lives. And God saves everyone.