News manipulation and blood and guts prime time segments—these are the elements of a world we have come to expect in media reporting. To say that Dan Gilroy’s 2014 film “Nightcrawler” is seminal, bizarre, and shocking is an understatement. That we follow its antihero Lou Bloom down its unwitting trail unquestioningly, is further evidence of the film’s brilliance. Starting off as a freelance weirdo with a cheap camcorder, Bloom soon ingratiates himself in the world of L.A.’s crime journalism, develops a shaky alliance with a evening shift news director, and takes on a partner. Gilroy (who also wrote the intriguing “Two for the Money”) paints a dark picture of media violence. He also comments on the paparazzi-style filmmaking that many detest, yet accept eagerly over our morning cup of coffee.
Bloom is played by Jake Gyllenhaal and is simply at the top of his game here. I’ve liked Gyllenhaal ever since “The Day After Tomorrow.” However, his ability as a gifted actor really only hit mainstream after Denis Villanueve’s fantastic “Prisoners.” Here, Gyllenhall brings his performance to new heights, immediately dissolving completely into Lou Bloom—from an opening that shows him trying to sell stolen scrap metal to a man who then refuses him a job, to stealing a bike just to buy a police scanner and a camcorder. Bloom finds his calling in what the film bills as crime journalism—freelancers rushing to the scene of car fatalities, crashes, shootings, stabbings and more, all for sale to the highest news bidder.
The Underbelly of L.A. Crime Journalism
It’s in this world we meet others in the trade such as Joe Loder (Bill Paxton), another scoundrel who films people’s misfortunes and sells them to news outlets. Paxton is great here, even though he doesn’t get much screen time. He hasn’t lost his penchant for seeking out interesting and diverse roles as he goes through the years (his 2002 directorial film “Frailty” remains one of my favorite horror films from the last 15 years). We also meet Rene Russo, who is all business here. She’s a news director one bad month away from losing her job who seems to have lost her moral compass long ago. ‘If it bleeds it leads;’ she doesn’t say this directly, but might as well have. “Think of our news as a woman running down the street screaming with her throat slit,’” she instructs newcomer Bloom. The point is well taken. An associate Bloom takes on (Riz Ahmed), rounds out the cast.
“Nightcrawler” is filmed wonderfully, showing us a distinct picture of L.A. The film is shot mostly at night and darkness, often at high speeds as Bloom drives his red sports car through the streets, beating rival news crews—and often the police—to crime scenes. The film’s score is done by James Newton Howard and is comprised of low-droning organs, bass, and a soundtrack devoid of any songs until the credits. We’ve seen crime ridden L.A. before (“Training Day,” “Drive”) but not from the point of view of a man who is less than moral, but isn’t an out-and-out criminal. As Bloom slips from petty crime to obstruction of justice and other, worse things, the cinematography by Robert Elswit compliments it at every turn, highlighting Bloom’s sinister descent.
Commenting on our Media Desensitization
Gyllenhaal was nominated for a Golden Globe for “ Best Performance by an Actor in a Motion Picture—Drama” and rightly deserves it. He completely dissolves into Louis, not becoming a composite of other characters he’s played, but becoming a truly unique entity. He’s fast talking, straight-faced, and un-remorseful and shameless. I don’t think I heard him laugh once during the entire film. He’s also a chameleon, becoming what he thinks he will need to in order to pass in any situation. Other journalists stay behind police lines; he goes into crime scenes. Only one editor at the news station is horrified by the news Bloom brings (Kiff VandenHeuval). Trying to correct a story, he’s shot down in favor of a bloodier lead. “Nightcrawler” doesn’t outrightly make a case to point a spotlight at our desensitization at the hands of the media. But then again, it doesn’t really have to.
“Nightcrawler” is a brilliant film. It’s performances are all top of the line, the score magnificent, and its aim un-relentless. The film is an easy recommend. It’s easily Gyllenhaal’s best performance to date, and is engaging the whole way, and never drags. Bloom does horrible things, and though we might object, we still watch. It’s a testament to the film’s production that we still want to follow him along. This is a movie, like “The Minus Man” or “Notes on a Scandal” that doesn’t end the way it should. But it’s all the better for it.
