Revisiting "Spotlight" on Netflix
Saturday, August 1, 2020 at 2:00PM Please welcome new contributor Juan Carlos Ojano
As the 88th Oscars neared its conclusion, the anticipation for the Best Picture winner was high: The Revenant had previously won the DGA and three Oscars including Directing, The Big Short had momentum, the PGA win, and an Oscar for Adapted Screenplay, and Spotlight had previously won SAG and on the big night Original Screenplay. Meanwhile, the critics had rallied behind Mad Max: Fury Road and it just kept winning Oscars that night. But ultimately, it was Spotlight that prevailed, winning the top prize. With the film now streaming on Netflix, it's worth a revisit...
Looking back at last decade’s winners, Spotlight as a Best Picture winner is neither derided like Green Book or The King’s Speech nor highly regarded like 12 Years a Slave or Parasite. Instead, it exists somewhere in that Oscar limbo of Best Picture winners that are, if not forgotten, than infrequently talked about. Future consensus will most likely point to Mad Max: Fury Road or to the un-nominated Carol as the modern classics of 2015. To add to that, Spotlight’s legacy is dwarfed by what preceded and succeeded it: Birdman’s technical virtuoso and Moonlight’s landmark victory for representation. However, Spotlight earns its spot in that conversation and the Oscar for Best Picture.
Spotlight's "Outstanding Cast" SAG win
To anyone who needs reminding, here’s a quick summary of the film: the "Spotlight" team of journalists at the Boston Globe do long-term investigations for their paper. With the arrival of a new boss (Liev Schreiber), the team is urged to investigate a priest sexually abusing children. Their investigation leads them to discover that there are yet more priests committing these heinous acts in Boston and that they are being protected by the Archbishop of Boston.
All of the team members have personal stake in this investigation: the editor Robby Robertson (Michael Keaton) rubs elbows with people working for the Archdiocese, Mike Rezendes (Mark Ruffalo) is the one reaching out to the fiery lawyer representing the victims, Sacha Pfeiffer (Rachel McAdams) is living with her practicing Catholic mother, and Matt Carroll (Brian d’Arcy James) has children and is living near the house of one of the priests being investigated.
Co-written and directed by Tom McCarthy, the film is a demonstration of how precisely crafted filmmaking can triumph over showboating. The film understands journalism and treats the story like it is a full-blooded investigation: plot points are strategically mapped out, dialogues are infused with grounded intelligence, scenes are executed with necessary patience, and the pace is rhythmically pitch-perfect as reporting goes hand-in-hand with the personal lives of the journalists.
The fusion of strong acting, clear character work, and powerful series of events allows Spotlight to build its considerable cumulative power. It is easy to overlook McCarthy and his team's craft since "based on a true story" don't usually play out like this. In most cases, filmmakers perceive a necessity to dramatize, even sensationalize, true events for artistic purposes. That formula has worked well in terms of courting Oscar. And while Spotlight initially looks like it is following that template, it veers away by shifting its approach to the story. Confrontations and emotional outbursts are kept to a minimum. Scenes depicting interviews with sources are grippingly observed. The editing is rarely showy, but it constantly escalates the dramatic tension scene after scene. Several shots are scrupulously composed to further illustrate the Catholic Church’s pervading hold on the Boston community. The storytelling is dignified, careful, and methodical, but it also imbues it with honesty, bravery, and humanity.
Take the scene where the team is talking to Richard Sipe, a former priest doing rehabilitation work for pedophile priests. It starts with the close up of a telephone with Sipe on loudspeaker as he is being questioned by the team. As the team knows more about the case with Sipe’s answers, the camera pulls back very carefully to reveal the journalists and their reactions. As they reach the jaw-dropping revelation that 6% of priests in Boston are engaged in sexual abuse, the shot becomes a full-on wide shot, dwarfing the journalists stunned by that piece of information. Meanwhile, Howard Shore’s quietly powerful, somber score gradually gains power in amplifying the magnitude of that reveal.
What comes after is the inevitable series of events that will ultimately put the team head on against the Archdiocese of Boston and ultimately, the Catholic Church. Stakes are incredibly high, powerful people are involved, and they are asked to go all in. The work eventually becomes personally taxing, but the situation calls for it. This is not just a case of few bad apples; this is a systematic cover-up orchestrated by one of the most powerful institutions in the world.
And we reach the final scene: Robby and Mike, with differences resolved, arrive at their office. They were anticipating complaints and protests outside their office, but instead come numerous phone calls. Not by protesters, but by victims. Robby, slowly absorbing the gravity of the impact of their first article, stands there for a bit and then proceeds to answer a call. It's a truly sobering moment for him and us. While there are people coming forward to share their history of sexual abuses, there are a lot more out there waiting to see the conversation get started. As proven by the #MeToo and #TimesUp movements, even the high-profile revelations of such crimes are just scratching the surface.
What comes next is perhaps the most horrifying “images” in the film. In a series of title cards, the film reveals that Cardinal Law has been transferred to the Basilica di Santa Maria Maggiore in Italy, displaying the continuous complicity and hypocrisy of the Catholic Church in these abuses. What follows is a long list of cities all over the world in which stories of sexual abuses by Catholic priests have been uncovered. Unfortunately, the work done by the Spotlight team is just uncovering the tip of an iceberg.
On a personal note, the film came to my life at the perfect time. I watched it while I myself was making my thesis film in film school about a journalist investigating the crimes of a powerful religious organization. I had my story even before I knew about the existence of this film. My film and McCarthy’s film are vastly different in visual language and context but united in rage. This was the unexpected trailblazer that I needed to give me the courage to continue with my project.
As a mass communication student living in a country with one of the highest number of journalist killings in the world, the subject matter was uncomfortably close. As a believer, I am passionate about criticizing crimes committed within the religious community. As a rational human being, I am enraged by sexual abuses and victimization of children.
I remember vividly the first time I saw Spotlight. As the end credits rolled, I was crying intensely and shaking. I could not stop. It was truly one of the most powerful film experiences I have ever had. I still rewatch it from time to time and that gut punch still comes.
In terms of the Oscar race, perhaps the film came out a bit early. With Trump’s continuous attacks on the media (and literally, anyone who criticizes him), since 2016, it's interesting to imagine if the film would have fared better at the Oscars if it was released just a year or two later. Maybe Michael Keaton would have gotten in too. Maybe an Original Score nomination as well.
But here we are in 2020 in the middle of a global pandemic. Misinformation is rampant, and there are self-proclaimed “news organizations” that only harbor propaganda and deception. The value of the truth gets muddled when political histrionics, Twitter rampages, hateful rhetoric, and blatant lies dominated the world conversation.
Spotlight is a vital reminder of how journalism and news reporting should work. It inspires us to be watchful and critical of powerful institutions, and to break the silence once abuses are happening. This film is worth a revisit -- it is truly one of the best films of 2015.
Reader Comments (25)
I'm glad this won best picture. It's not a showy movie, so I worried it would be forgotten. But I love how this movie looks like an everyday world. Nothing appears exaggerated. The cast is top notch, though I always regretted that Ruffalo got the Oscar nod when Keaton and Tucci were right there. McAdams' nod is different, too. It's all about active listening and thinking; she's basically the embodiment of quiet, thorough competency. That's a thing rarely portrayed on screen.
@Cash: Ruffalo's eventual nomination makes sense because he has the "showiest" performance in this decidedly low-key film. He also has the impassioned speech which almost always works.
I remember that year being so nervous if none of the Spotlight actors would make it. Ruffalo, Keaton, Tucci, and Schreiber were all getting Supporting Actor nominations and wins from critics' awards.
The film winning SAG Cast, aside from its two Oscars, is probably its most deserving win that season since it was truly an ensemble work.
I was shocked by how much I liked this movie when I saw it. And it holds up. I think one actor realllllly overacts in this, but apart from that it gets a full A from me across the board.
This is also reminding me that I wish more people saw Ozon's By the Grace of God. That was one heck of a powerful and well-made film too.
A beautifully worded summation of this film, thank you. I wasn't bowled over by it at the time but upon rewatch it held up very well. It has the feel of a procedural, like 1976's All the President's Men. As for the acting nominations, I think the academy going with the overacting of Ruffalo and the competent but not terribly distinctive McAdams was pretty disappointing. Keaton was to me was clearly the most deserving of a nod, he was excellent.
It's a very well made film, and it does hold up, but it is a bland choice for Best Picture.
It is an amazing film and I have no problem with the film winning Best Picture though for me, The Hateful Eight was the best film that year.
It is certainly a better than the film that preceeded it and certainly better than Moonlight,the only false note in the cast is Ruffalo for my money doing the worst acting of his career any of the other fellas would've been worthier esp Keaton who probably suffered from category confusion but would have been a great make up Oscar for the year before and that years travesty of a winner.
It's a quiet movie, but quiet doesn't mean it has no quality.
Strange as it sounds, I think that winning Best Picture allowed this film to be forgotten. If it had lost, I’m confident people would have come back to it after the fact and said, “Hey, wow, the Academy really got it wrong that year.” Unless it went to Fury Road. Who knows what the world would look like today if that had happened?
Terrific film - for me the best of last decade's top winners alongside the other Keaton pic that won the year before. Its modest construction and understated tone belie what an extraordinarily astute and well modulated film this is on every level.
I love this film and even though I was rooting for "Fury Road" as well am happy it won. While it may not be as loudly talked about, it is definitely highly regarded especially with state at "news " and lack of intelligent adult dramas out there.
Not a masterpiece, but very close, great acting, perfect editing and a screenplay that avoids cliché topics. Of course Carol, was the best picture of 2015, but this movie is a good winner.
I like this film just fine. I think it's in the Shape of Water tier of films that, although not revolutionary, we really don't mind them being Best Pitcure winners.
I do think "By The Grace of God" is an even better film, the same kind of movie but going even further. I'd recommend everyone to see it.
A shame!
One of worst and weakest BP winners in Oscar History.
E real shame!
Is this the face of "New Academy"?
Please, take me back to old times...
Great article!
Spotlight is my favourite Best Picture winner of recent times. This past decade, only Parasite comes close. Spotlight is such a quietly sensible, carefully crafted film. Its form suits the methodical and persistent ways in which its journalists uncover the story they are researching. It's very rewatchable, too - to see the subtlety of the characterisations and to take pleasure in the assured filmmaking. I do have a slight question over Ruffalo's work, but perhaps the film needs his more blatant energy as a contrast to the quieter energies of the rest of the Spotlight team. I think Keaton might have suffered from category confusion: he won best leading actor from the New York Film Critics Circle but was talked about as a candidate in the supporting category. He's terrific in his role. Really, I could praise everyone in the film - and everyone behind the camera.
Best Emmy's winner ever
I admire this film hugely, if only for it being an accurate and loving tribute to the drudgery and reward of research. The fact that it builds an entire sequence around the construction of a crucial spreadsheet fills my heart with joy.
A tough traditional Hollywood message movie
A perfectly fine film, but nothing more. One of the less deserving Best Picture winners of the last decade for sure--I can't imagine thinking this was better than Birdman or Moonlight.
Ruffalo was actively bad in this--and I generally like him! Not sure how he got in over Keaton.
Yes, Emmy winner. Mad Max was robbed.
Spotlight is a great example of humble aspirations meeting at the threshold of cinema with stellar commitment and talent.
The SAG win is more than deserved, because of all the films released in 2015, this is the truest ensemble. Even McAdams and Ruffalo, who got the lion's share of the praise (and, frankly, well deserved, as they are both wonderfully understated), blend in seamlessly.
As I watched it, I thought of that great tide of "message" films that rose in the '70s and then seemingly cratered in the '80s only to rise again (sort of) in the '90s in the form of tawdry Grisham adaptations (no complaint, as I find them all entertaining!) and then settle into quieter films, such as this one, or A Civil Action and Dark Waters.
It may not have the luster of a Moonlight win, but Spotlight's shine will remain long past trends or what's vogue passes.
Rachel McAdams' reaction shot when a former priest opens the door to her and openly admits to sexual abuse is one of my favourite acting moments of the decade.The briefest of hesitations before following it up immediately, almost stumbling over her words as she struggles to get her question in before her time runs out, and then the boys cycling past her on the road outside, shaking her back into real life. Whilst like everyone else I was rooting for Mad Max that year, Spotlight was a fantastic win, no ground-breaking movie like Moonlight or Parasite, but infinitely better and more ambitious than Sound of Water or some of the more 'eh, it's fine' BP wins of the century.
It is still beyond my understanding how Spotlight and Iñarritu won over Mad Max Fury Road and George Miller, one of the best films and directing achievements of all time.
I still can't get over it.
And count me in, for those who like Ruffalo a lot, but think he gave a really mediocre performance in "Spotlight"
I'm fairly indifferent to the movie, but I still can't believe the studio didn't push Michael Keaton as their main acting contender given that he was not only coming off a near-win for Birdman the year before, but most critics seemed to agree he actually gave the best performance in the movie. At one point I even thought he might be competing for the win that year, but alas.
Love Ruffalo but HATED his performance. One of the worst Oscar nominations of the decade.