J. Edgar Review
By Karen Dahlstrom
Devil in a Blue Dress
The road to hell, they say, is paved with good intentions. The adage aptly describes J. Edgar Hoover, one of the most controversial figures of the 20th century. In his nearly 50-year tenure with the Justice Department, Hoover bent or broke laws, impinged on the civil rights of citizens, and blackmailed public figures — all in the name of protecting America. At the same time, he revolutionized criminal investigations, forensics and created a centralized repository of fingerprints. "J. Edgar", directed by Clint Eastwood, seeks to reveal the complicated man behind the legend — and to go behind the rumors of his personal life.
Leonardo DiCaprio stars in the titular role, playing Hoover from his from 20s to 70s. His story is told in flashbacks, as an aging Hoover dictates the "official" story of the FBI to a series of Bureau scribes. The film recounts Hoover's days as an ambitious young agent in the Bureau of Investigation. His rigid, single-minded dedication to his work, combined with his zealous campaign against "communist revolutionaries" makes him a figure of respect and curiosity.
Hoover's ambition is driven by his relationship with his formidable mother (Judi Dench). She looks to him to restore the family's good name and improve their situation in society. To please her, he does everything he can to rise in the ranks. But while Edgar (as she calls him) is formidable in the office, it is only because he is constantly pressed to keep in check any feelings or appearances that would risk his career.
While still in his 20s, Hoover is named head of the Bureau. Frustrated by his agency's lack of power and resources to help solve the Lindbergh kidnapping, he revamps the agency, adding a crime lab and pioneering the use of fingerprints. He uses his new-found power to help promote the Bureau (and himself) as real-life comic book heroes. To bolster their profile, he institutes a rigorous code for all FBI agents, from their grooming and physical fitness to their habits and personal lives.
The public vs. private lives of others quickly becomes an obsession to Hoover, who, with his trusted secretary, Helen Gandy (Naomi Watts), begins to compile a "personal file" of information on noted political and cultural figures. The irony, of course, is that Hoover himself has his own secrets. The most important being his relationship with his protégé, Clyde Tolson (Armie Hammer).
Eastwood and screenwriter Dustin Lance Black ("
Milk") don't give in to the more salacious rumors of orgies and cross-dressing that have dogged Hoover over the past decades. They portray Hoover as being attracted to — and probably deeply in love with — Tolson, but unable to bring himself to fully accept his own homosexuality. Their relationship is a restrained and tragic love story, with Tolson the ever-supportive spouse, even when he is pushed away. The one scene where Hoover actually dons women's clothes is heartbreaking and poignant.
"J. Edgar" is, for the most part, a compelling look at the life of an extremely complicated and conflicted man. But it's not without its short-comings. As gifted an actor as DiCaprio is in the flashback sequences, covered in waxy aging makeup, he cannot help but sound like a young man affecting an old man's voice. The effect is distracting, as is the comical accent of Bobby Kennedy (Jeffrey Donovan) and Eastwood's own intrusive musical score. Watt's Helen Gandy seems woefully unexplored, as one wonders why she assisted with Hoover's back-door shenanigans for nearly 50 years.
Still, with a thoughtful script, elegant direction and some fine acting moments, nominations are certain to fly come awards season, despite the uneven moments. While it doesn't represent the best work of either Eastwood or DiCaprio, it's solid enough to do justice to America's top law man.
