George Clooney’s extraordinary film is not only historically significant, it is contemporarily prescient. Book-ended by the provocative speech of CBS anchor Edward R. Murrow (“terror is right here in this room”), Good Night And Good Luck is a cautionary tale about media, politics and social change. This is one of the best films ever made about journalism that stands out among masterpieces like Newsfront and Network.

During the infamous McCarthy era, Murrow (David Strathairn) believes there is a small window of opportunity for television to make a difference; to educate and inform, and to help defend morality from government. Through a high-profile show, he forces CBS to takes a stand against state-sanctioned tyranny and Senator McCarthy in particular. The only things missing from this near-Western stand-off are dusty streets and a gun. Otherwise his show-down has all the trappings of a shoot-out that is as entertaining as it is politically vital.

In addition to the tremendous courage of the subject matter, Good Night And Good Luck is a remarkable work. Clooney films in contemporary black and white, anchored by a scintillating performance by Strathairn and the superb lensing of Robert Elswit (Punch-Drunk Love). Robust support from Clooney, Jeff Daniels and Frank Langella delivers an Oscar contender that demands your attention.

Good Night And Good Luck is as much a history lesson as it is a wake up call for a world victimised by the corporate and social politics of commercial television. In this regard alone, the film is inspirational. It is also a surprisingly tense, challenging and subtle dissection of an opportunity squandered. We see the pitiable results in our lounge rooms and on our streets every day.

// COLIN FRASER