Analysis: First Act Narrative Breakdown – Good Night, And Good Luck (2005)

In this analysis, we break down the story structure of the first act of this 1950s-set tale of legendary CBS broadcast journalist Edward R. Murrow and his team, who publicly took on the damaging communist witch-hunts spearheaded by Wisconsin senator Joseph McCarthy.

Director: George Clooney

Screenwriter: George Clooney and Grant Heslov

Screenplay: Daily Script

Heavy spoilers throughout the following article

Historical context:

During the 1940s and 50s, the United States was gripped by fears of communism. In a 1950 speech, Wisconsin senator Joseph McCarthy went public with claims that more than 200 communists had infiltrated the government and other institutions. McCarthy set about rooting out communists and communist sympathisers. Anyone critical of McCarthy and his zealous methods faced becoming the target of his so-called witch-hunts. The efforts of CBS broadcast journalist, Edward R. Murrow, and his team, headed by producer Fred Friendly, played a key role in turning the tide against McCarthy.

Note about the breakdown: We based our narrative breakdown on the screenplay linked to above, as we wanted to focus on the way in which the story was written for the screen. However, we also note places in which the film departs from the draft script.

Act One

Overview:

The first act is all about setting up the world in which the story takes place, introducing the key characters and establishing the main conflicts that will unfold. In this case, the set-up is pretty straightforward, revealing the overarching fear of communism that pervades society and the microcosm world of the newsroom. It also introduces us to Ed Murrow and his team, headed by producer, Fred Friendly.

Opening:

The script (and film) opens in 1958 at the Radio and Television News Directors Association annual meeting, at which Murrow is giving a speech. His words, now considered a landmark moment in broadcast journalism, herald a warning about the mass media becoming merely a tool to “distract, delude, amuse and insulate us”.

Body of the first act:

We are then taken back to the busy CBS newsroom in 1953. In both the script and the film, we get a whistle-stop tour of the studio. Unlike the script, the film uses this opportunity to insert text that tells us about the communist paranoia of the 40s and 50s, McCarthy’s crusade, and the reluctance of the press to stand up to his zealous methods.

We then meet key members of the team that puts out Murrow’s weekly See It Now news show. They include Shirley and Joe Wershba (who are forced to keep their ‘against company policy’ marriage under wraps). Joe tells Shirley about a ‘loyalty oath’ CBS is forcing staff members to sign that confirms they don’t have communist sympathies. “If I don’t sign it, I’ll be fired,” Joe says, letting us know the seriousness of the situation.

We move to the screening room, where the rest of the team, including producer Fred Friendly, has gathered to watch (real) footage of an interview with Senator McCarthy – we’ve met the antagonist.

Later, Ed tells Fred about Milo Redulovich from Detroit, who was kicked out of the Air Force because the military believed his father was a communist. Ed wants to take the story further. Fred is reluctant. “So, it’s not McCarthy.” Fred says when Ed tells him Milo is not being brought before the senator’s Committee on Government Operations. “Isn’t it?” Ed replies, indicating McCarthy’s web is spreading.

Ed, Fred and Stanton, a high-up at CBS, watch footage of Milo. Stanton is nervous because the team’s story departs from the principle of covering both sides equally and not editorialising. Stanton also points out that CBS has a sponsor to keep happy. Ed reminds him that Paley, head of CBS, assured him that corporate would have no influence on editorial. (This is the inciting incident that sets up the rest of the story.)

Fred leaves to meet with an Air Force colonel. Ed and Stanton acknowledge that things are shifting in terms of their McCarthy coverage. Stanton tells Ed he can go ahead with the Milo story.

Fred has a fractious meeting with the colonel, who warns him he’s attempting to navigate dangerous waters.

The team rushes to get the Milo story edited and ready for air. Ed prepares to go live. “You know, it occurs to me that we might not get away with this one,” he muses to Fred.

The story runs with footage of the Redulovich family. Ed’s commentary calls for more transparency from the Air Force with regard to the supposed evidence against Milo.

At the end of the broadcast, the team celebrates.

A key subplot is then introduced, as we meet news anchor, Don Hollenbeck. It’s revealed that his marriage has broken up and that a newspaper columnist, O’Brien, has taken to referring to him as a ‘pinko’ (i.e. a communist sympathiser). Ed reassures Don that Paley won’t take any action against him. Referring to McCarthy, Don asks Ed, “are you taking sides?”. Ed responds that it’s “just a little poke with a stick”.

In Washington DC, Joe is told that Ed has communist ties. He’s given an envelope of ‘evidence’.

Ed awkwardly interviews Debbie Reynolds (in the script, it’s Liberace) for his sponsor-friendly, ‘soft news’ Person-to-Person TV show.

With the evidence folder, Ed meets with Paley. It’s revealed that Paley is powerful and well-connected – he is the corporate arm of CBS. Ed and Paley are tentatively cordial as their small talk sets up the ‘meat’ of the conversation. Paley has a copy of the evidence against Ed. “Reading fiction?” Ed asks. “I hope so. You tell me,” Paley replies.

Their conversation further underlines the conflict between CBS’ editorial and corporate interests. Paley wants Ed to wait for McCarthy to self-destruct. Ed believes it’s time to take a stand. Paley tells Ed he should have had a head’s up about the Milo story, but he chooses not to shut down Ed. Instead, he warns him that his team needs to be free of any communist attachments before they go any further to minimise fall-out.

In the film, as Ed leaves Paley’s office, Fred’s voice-over reveals:

“Fellas, our next show is going to be about Senator McCarthy…and we’re going to go right at him.”

Interestingly, in the script, Fred makes no such explicit declaration. The voice-over is simply Fred asking his team to declare any potential communist ties, indicating less directly that they will be pursuing McCarthy.

Summary:

The first act is compact and linear (except for the opening speech). We learn the ‘rules’ of the world, which include the fact that CBS doesn’t take sides and that the wider media refrains from attacking McCarthy. We also learn that the protagonist (Ed) is an established and respected newsman, who has a close relationship with his producer, Fred, and is on first-name terms with the network’s head. We meet Ed’s team and together they take their first shot across the bows at McCarthy by covering the Milo story. Conflict heightens between CBS’ editorial and corporate interests, while Ed faces accusations of having communist ties. Ed is also revealed to be firmly part of the very establishment that he is putting at risk. “I write your check. I’ve put you in that country house,” Paley says at one point. The Don Hollenbeck subplot is also introduced in act one. By the end, we know that Ed and his team are directly going after McCarthy, which raises the question – what will the consequences be for Ed, his colleagues, CBS and the country as whole?

Things to watch for:

– The use of music: Throughout the film, we have the excellent jazz singer Dianne Reeves and her band performing live in a TV studio (in the script, the singer is named as Ella Fitzgerald). This doesn’t just provide a classy soundtrack that enhances the suave tone of this black and white film, it adds exposition, with songs including, ‘TV Is the Thing (This Year)’ over the opening newsroom scenes and ‘I’ve Got My Eyes on You’ as the team celebrates the Milo story broadcast.

– The use of real footage: The filmmakers had plenty of historical footage available that is incorporated throughout the film, some of which is used as back-and-forth interviews between the fictional Ed and his real-life subjects.

– The way in which the script and film establish the relationships between the characters: For example, early on, Ed casually refers to the network’s head honcho by his first name.

– Interplay between Ed and Fred: “Every time you light a cigarette for me, I know you’re lying,” Ed says to Fred at one point (a little ‘bit’ that makes a reappearance later).

‘Story’ of the first act:

Murrow and his team make the decision to publicly go after Senator McCarthy and his communist witch-hunts, going against the wider media establishment and exposing themselves (and CBS) to backlash.

Want more?

You can read the rest in our full narrative breakdown.

*Heavy spoilers throughout the following article*