J. Edgar Review

16th Jan 2012

Clint Eastwood continues to deliver sterling work behind the camera; this time with a look at the man who put together the FBI, James Edgar Hoover (Leonardo DiCaprio). And yet, whilst the film’s narrative is a complex one, there are so many relationships and events in this life that have been either skimmed over or lost completely that it becomes almost impossible for this film to succeed as a truly astounding biopic.

The narrative leaps back and forth in time from Hoover’s youth; seeing him grow up and join the department of justice which leads from one thing to another until he is finally in his position of power as well as with the end of his life as a still a determined, yet paranoid, old man who still knows how to be a thorn in the side of many a president and state official.

The film has been criticised for its “old man” make-up. To be fair it’s passable. Yes you know it’s make-up but other films have gotten away with far worse. I didn’t find it too distracting (except to say that perhaps the old man make-up made DiCaprio a dead ringer for Jon Voight).

The main events of Hoover’s life in the bureau including dealing with his awkward social skills (demonstrated to the full when he goes on a date with one of his colleagues), culminating with many a visit to his sexual appetite away from the ladies. Prominent time is spent on him building the FBI and developing the skills they need in order to really crack crime – the main investigation shown here is that of Charles Lindberg’s kidnapped child, one of the most famous cases of the century.

The majority of the rest of the time is spent with Hoover and his right hand man (and eventual partner) Clyde Tolson (Armie Hammer). The film makes the brave choice of portraying what has been speculated upon. And to its credit it’s a brave choice made in the end. It gives the narrative a strong emotional backdrop for Hoover to fall into a slum about when not in the public eye. This added with the fact that his own mother forced upon him her own self resentment about such feelings only deepens the drama.

By the end however you may feel cheated by a few narrative flaws, and even a few narrative lies by the film’s climax. But it is still a worthy piece of film-making and an intriguing drama about one of the 20^th centuries’ most prolific figures.

If ever you fancy a DiCaprio double bill of similar flavours then perhaps this may go together well with Scorsese’s The Aviator. Both films fly past the 2 hour mark, Both are period set, Both have characters who have seeds planted by their mothers, both have what they or the world around them perceive as flaws and afflictions. Both have an inner turmoil because of this; and yet both also were innovators in their field and had to fight to get there.