Notes

Nothing but the truth

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We are better than the rest! Every day, the boulevard and supposedly serious counterparts literally document side by side what sets us apart from the barbarians: We know our human rights, we save the planet - and we honor the great good of freedom of the press. It's just stupid if an irresponsible corporation stops placing advertisements after critical reporting and then prefers to confiscate the exposing article in advance. If this corporation is also the government, the much-touted freedom values ​​have finished work. What to do if the journalistic ethos is sidelined? Rod Lurie (character assassination), a high school buddy of Barack Obama, follows this difficult question with "Nothing But The Truth". The calm and surprisingly pathos-free drama gets to the bottom of the side effects of investigative journalism and shows that Kate Beckinsale has a respectable actress, unless she is staged as a fetish object by husband Len Wiseman (Underworld). Don't be fooled by the direct-to-DVD label: “Nothing But The Truth” is pleasantly ambivalent political cinema that raises relevant questions without answering them too quickly.



Rachel Armstrong (Kate Beckinsale, Pearl Harbor) has achieved a great coup with the exposure of CIA agent Erica Van Doren (Vera Farmiga, The Departed). But before the Pulitzer Prize candidate can really savor her triumph, she finds herself in handcuffs. The honest journalist refuses to reveal her source, even though the exposure of state carriers of secrets is considered a serious violation of national security. With the support of the renowned lawyer Burnside (Alan Alda, Flash Of Genius) Rachel enters the arena of lawyers. But also prosecutor Dubois (Matt Dillon) only goes about his job. Even if that means putting the reporter behind bars. Uncomfortable bed neighbors are still the smallest problem: The time in jail also shakes the marriage to political author Ray (David Schwimmer, series, Friends) and the relationship with her son. How far can and will Rachel go to cover the source and protect her journalistic principles?



"Nothing But The Truth" is based on a story that should be well remembered by all committed enemies of Bush. In 2003 the Washington Times ran the headline about the exposure of CIA agent Valeria Plame by reporter Judith Miller, who then hiked behind Swedish curtains for 85 days because she did not want to reveal her source. A spicy detail: Plame's ignorant husband Joseph Wilson wrote about the non-existent weapons of mass destruction of the Hussein regime in the run-up to the Iraq invasion. Was the exposure of his wife an act of retaliation against the overly critical work of Wilson? Rod Lurie, however, is interested in something completely different. Investigative journalism is based on confidentiality - anyone who reveals their sources messes with other insider informants. Rachel's silence is also pragmatic, like the advance of her opponents.

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An exposed state apparatus loses its scope of action and as a result has to search for leaks. Rachel is locked away - not as a punishment, even her patriotic enemies agree, but to break her. The injured sovereign defends himself and forces the apostate sheep to repudiate the sin. “Nothing But The Truth” exhibits mechanisms of power whose subtly threatening effect unfolds between Kafka and Foucault. &quot;Imprisoning journalists? That's for other countries. That’s for countries who fear their citizens. Not countries, that cherish and protect them ”, so the heated argument of lawyer Burnside. Left to itself, “Nothing But The Truth” would have derailed into an American laudation.



With subplots that are as short as they are effective, however, Lurie negates any complacency by addressing precisely Rachel's private failure. There is the empathic consequence that the article has for the Van Dorens. And there is the fatalistic distance of her husband, which is only too understandable, with her professional silence, she places a creed about family needs. Is journalistic integrity worth the loss of love, custody, and social dignity? Here Lurie sings a hymn to Rachel's heroic uncompromisingness - but only to break it down to entirely private rather than idealistic motifs in a surprising final twist about the identity of the source. “Nothing But The Truth” remains consistent: the ambivalent final chord rounds off Lurie's pleasantly open confrontation with the complicated relationship between brisk journalism and state power.


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