Sitting at home during the early stages of what may turn out to be a genuinely spectacular pandemic, I sometimes let my mind drift over recent history, with specific key aspects of select periods pointing to some deeper meaning.
Sure, it may be the wine talking, but there are truths that only become apparent when allowed to ruminate without the burden of an overly hectic social schedule. Facts like how 2019 was unlike any other year in that it indeed was the Year of Adam Driver.
Think about it: Last year, Driver starred in no fewer than four full-length North American releases: The Dead Don’t Die, Marriage Story, The Rise of Skywalker, and The Report, the last of which came and went in a haze all too fast to garner nearly as much box office success as it deserves.
Released in November ’19 a month ahead of the super-hyped wrap to the original Star Wars saga, The Report places Driver in the role of Senate staffer Daniel J. Jones who, in 2009, was enlisted by Senator Dianne Feinstein of California to investigate the ’05 destruction of videotapes documenting allegedly abusive CIA interrogations of prisoners in the months following 9/11.
When the report detailing the findings of the original two-year investigation is brushed aside, Feinstein directs Jones and his team of six to dig deeper, leading them to discover horrible truths that the CIA preferred to remain buried.
As a thriller, The Report relentlessly grabs viewers by the collar as we’re taken behind the scenes of the torture program that came to be known for the introduction of the term waterboarding into the American vernacular.
Like Three Days of the Condor and other classic thrillers of the ‘70s, The Report builds tension by allowing the story to unfold around a central character, in this case Jones, whose sincerity and near-disbelief at the attempts to thwart his investigation only inspire him to push harder, if not always with the greatest of prudence.
Directed by Scott Z. Burns, The Report is a big film with big-ticket stars that remarkably maintains the feel of a lean, independent production. Special effects are replaced by a keen eye on detail, as Jones and his team methodically research the use of “enhanced interrogation techniques,” videos of which went missing shortly before the original investigation kicked into gear. This isn’t some Watergate-style 18-minute gap in audio—hundreds of hours of tapes quickly went MIA thanks to the CIA, or so Jones and his team maintained as the followup investigation built momentum over five years. According to history, the small group dove into more than six million pages of documents, conducted interviews, and met with interference by the Agency and members of the Obama administration, among others.
Unlike thrillers that expand the narrative into the leads’ personal lives, The Report is all about the business at hand. We’re left to surmise that Jones’ home and love lives are anemic at best, as we see him work tirelessly with an added boost of adrenalin every time he or a member of his staff discover a new and potentially beneficial revelation.
Playing a man who is consumed by his mission, Driver portrays Jones as supremely buttoned-up, humorless, and wholly wonkish as he dives into a sea of paper in pursuit of the true story. Burns, making his directorial debut, lets the day-to-day details of the story build as the 6,700-page report takes shape. Aside from occasional violence depicted in flashback scenes to the CIA black sites where the abuses took place, The Report is all talk and tension in the best possible way.
It is a challenge to present relatively recent news.Yet, Burns and the cast pull it off with what felt like a never-ending race from the windowless box where the team did their research to meetings with administration officials, the CIA, and conversations with anonymous sources. Throughout, Driver maintains a focused, sort of angry composure that had me anticipating an explosion of emotion that never materializes. Instead, he is simply a professional with no intention of letting up, especially as it becomes clear that early suspicions about allegations of torture are in fact true.
As a screenwriter, Burns collaborated with co-producer Steven Soderbergh on several films, including Contagion, which unsurprisingly is getting cited in current news stories. He eschews oversized scenes for adherence to the story, acknowledging that the story itself is more powerful than any dramatic flourish can provide. Of course, this means the viewer must keep up with the dialogue, which is mixed clear and upfront, with sound effects and music playing their roles as distant seconds to the words.
This is Driver’s sweet spot. His dry yet impassioned delivery comes across as honest and sincere, whereas a lesser actor may have lapsed into a more over-the-top presentation throughout the film. As Sen. Feinstein, Annette Bening becomes the character—from her outward appearance to her mannerisms in public and private, she embodies the senator’s pleasant, no-nonsense manner without it becoming a caricature.
Upon its release, The Report came and went without making a dent at the box office, which is a shame, given that you will be hard-pressed to find an equally gripping film with a commitment to historical accuracy that makes it required viewing for fans of historical narratives. The combination of a tight script and first-rate cast makes The Report a home run for Burns, box office losses to the contrary.
Longtime consumer and professional technology specialist Adam Sohmer is president
and owner of Sohmer Associates, LLC, a Brooklyn, NY-based public relations & marketing
communications boutique agency catering to leading audio, video, and wireless brands.
Even longer than his career is his obsession with music and movies, and the gear used to
bring them to life. Find him on Facebook, Twitter, and Instagram.