Lauren Wilford recently coined an interesting phrase: “the mid masterpiece” (or Misterpiece or Midsterpiece, for short). This involves movies that are not very ambitious in their scope, maybe formulaic even. These flicks are not really trying to be more than “just a movie,” but nonetheless achieve a kind of excellence, even perfection. Small scaled, straightforward narratives, but absolutely perfect and endlessly rewatchable. These aren’t “high art” but are simple things done with care and attention by the filmmakers. A demonstration of a storyteller’s actual mastery of craft, not just ability to create wow moments. Basically, it’s the film equivalent of a extremely well made hamburger.
I’d put Midnight Run in this Misterpiece category, The Fugitive belongs here, Catch Me If You Can is also here, Moneyball belongs here too, over half of Steven Soderbergh’s filmography would fit here… and Michael Clayton is definitely at home here: one of the best screenplays from 2007, and one of the best dialogue driven male midlife crisis Hollywood films this century! It takes what is essentially Harvey Keitel’s Wolf character in Pulp Fiction and throws him into a conspiracy thriller north of The Insider, elevated by top-tier writing, acting and directing. The way the dialogue flows and is constructed despite being about lawsuits and such is nothing short of amazing. A lot of dramas today are up to the ears in anger, yelling, and breaking things, yet they’re never nourishing because they exist to distract you from noticing the shallow material. Michael Clayton understands that tension doesn’t need to be flashy and conspicuous to be felt.
This is Clooney’s finest hour. A reminder that acting isn’t just a job but a subtle art, and Clooney draws a portrait of greatness here. When you can look at an actor sitting in the back of a cab, saying nothing for several minutes yet playing every emotion known to man across his face – that is greatness. This film finds Clooney’s titular character constantly evolve. For instance, the gambling scene sets up how what might have been a compulsion for Michael the year before is controlled and deliberate. He laughs off the other gambler trying to goad and bait him, with humour and self confidence. I also find it fascinating that despite deciding to risk a great deal to do the right thing, at the end he makes it clear that “as the fixer” he still has the capability to do whatever is necessary.
Gilroy captures the interplay between individual madness and the madness of our high pressure society. The sheer sense of crazed paranoia underlining Arthur’s opening monologue is chilling beyond words. I thought I could handle Tom Wilkinson departing but it hit me harder knowing that he’s gone. The insane proficiency of the “wet team” soulless and calculated “disposal” of Arthur, having planned every macro second of this hit, made me even more hyper aware of my surroundings. They neutralize Arthur and Gilroy shoots it all so cold and matter of fact. We the audience are just along for the ride, helpless. A well shot scene that stays with you for all the wrong reasons. And the fucked up thing is Arthur getting iced was kinda unnecessary when you think about it – all Karen had to do was have Arthur go MIA for some time until eventually both parties agreed on a settlement. This amplifies her incompetence, paid off brilliantly at the ending when Michael insults her intelligence. She was in over her head from the start. Tilda Swinton mumbling “You don’t want the money?”, falling to her knees & deservedly winning an oscar. Did I mention that the bad guy is literally a Karen? So poetic!
Lost in any discussion about the plot, the performances, or even the cinematography (all great) is stellar performance by other departments like music (duh), hair, makeup, costumes, set design/decoration, and props. Look at the artwork in Karen’s apartment: why is it the way it is? Look at what’s inside Arthur’s refrigerator: only Arthur would have those specific things in his refrigerator and nothing else. EVERYBODY working on this film did their profession’s equivalent of a 360-degree windmill slam dunk. It’s something special to see, particularly when it’s a directorial debut. Sydney Pollacks outstanding performance would almost make you forget he produced the movie.
I read a great article about this film that said it was the last film for grownups before Hollywood completely embraced comic book films and repetitive escapism. A bit of an overstatement, but there is truth there. This was also the year The Sopranos concluded and it became apparent that TV was the medium for more “serious” dramatic storytelling. 2007 was really the peak for adult dramas/thrillers being the norm, not the exception. In a year that boasted career bests from Paul Thomas Anderson, The Coens, David Fincher, Andrew Dominik, Frank Darabont, Danny Boyle, Brad Bird, Ang Lee, David Cronenberg, Todd Haynes, Sidney Lumet, Ben Affleck, Edgar Wright, Diablo Cody, James Mangold and so many others, it’s no wonder Michael Clayton has an underrated air around it.
A true Misterpiece if there ever was one!
Mike’s love for films began when his dad introduced him to The Usual Suspects. From that moment on, he never looked back. Now, having explored thousands of films, he has mastered the art of unpeeling each facet gracefully. Mike especially loves writing movie reviews that are narratives in themselves, offering a unique perspective and depth you won’t find anywhere else. His insightful and captivating reviews bring each film to life, making him a standout voice in the world of cinema.