The recent reveal of the new Pulitzer Prize winners triggers reflections on film’s depiction of journalists. Over time, there have been numerous instances of newsroom thrillers, catastrophes, mysteries, and infrequent comedies in the movie industry. As the majority of people have limited exposure to actual newsroom workings, a movie’s depiction of news incidents and their reporting can be an instrumental avenue to unveil the media’s authority and accountability. Spending over three decades actively participating in news dissemination and more than half a century engrossed in cinema, I have shortlisted the top ten journalism-themed films of all time, including a few deserving mentions at the conclusion.
‘Shock and Awe’, released in 2017, is likely not remembered by many. However, it is a classic illustration of a scandal exposed by investigative journalists despite considerable resistance. The storyline centers on the events leading up to the 2003 invasion of Iraq by the U.S. based on untrue allegations of Iraq possessing weapons of mass destruction. The real-life reporters of Knight Ridder’s Washington Bureau, Jonathan Landay and Warren Strobel, are the champions of the story. Played by Woody Harrelson and James Marsden, they were among the few key journalists in the capital who accurately speculated that the pre-war build-up was grounded in misinformation. Eventually, their suspicions were confirmed.
Number nine in the list is ‘She Said’ by The New York Times reporters Jodi Kantor and Megna Twohey, launched in 2022. This factual narrative of the Pulitzer-winning reportage that exposed the Harvey Weinstein sexual misconduct case standout as one of the few films that underscore the work by female journalists exceptionally well.
‘Meet John Doe’ from 1941, a Frank Capra masterpiece, epitomizes how media coverage can advocate for a noble cause but, concurrently, pave the way to power exploitation.
Orson Welles’ 1941 magnum opus ‘Citizen Kane’ is centered around Charles Foster Kane, a fictional newspaper tycoon bearing resemblance to real-life media giant William Randolph Hearst. The film is a montage-like overview of how a novice journalist transforms into a power-hungry newspaper proprietor and eventually a national political figure.
The 1940’s ‘His Girl Friday’ is one of the few films that have been adapted several times. This newsroom farce signifies a demanding newspaper editor and his former wife turned formidable reporter.
‘The Sweet Smell of Success’ from 1957 paints a gross picture of the power-obsessed media industry. Burt Lancaster embodies the role of fictional gossip columnist J.J. Hunsecker at the fictional New York Globe, showcasing the negative side of media.
1976’s ‘Network’ portrays Howard Beale (played by Peter Finch) at the apex of 1970’s media power as a nationwide news anchor. He leads the evening broadcast for the fictional UBS network until plummeting ratings force his exit. The struggling network sees vast potential for revitalization until Beale directly challenges the network and its parent company.
‘Absence of Malice’, launched in 1981, arguably presents the best critique of the risks ailing the newsroom when basic ethical principles are twisted or violated.
‘Spotlight’ from 2015 tops my list of journalism films. It portrays the Pulitzer-prize winning efforts of the Boston Globe’s investigative team in 2001, which unearthed the priest sex scandal to unprecedented heights.
Still the behemoth of journalism films is ‘All the President’s Men’ released in 1976. It meticulously presents the most renowned news investigation in American history, Watergate scandal, illustrating step-by-step the processes that culminated in Richard Nixon’s fall from grace.
As promised, here are some noteworthy mentions. ‘The Mean Season’ (1985) showcases a journalist receiving confessions from a serial killer which revives his career. But, as he garners more fame than the killer, the murderer targets him.
‘The Paper’ (1994) provides an excellent peek into the tabloid wars in New York during the 80s and 90s. We follow a day in the life of the fictional Sun newspaper, a previously prominent institution in decline over the past few decades.
‘The Post’ (2017) precedes the infamous Watergate scandal by over a year, focusing on The Washington Post’s struggle for the right to publish the Pentagon Papers.
Finally, ‘Broadcast News’ (1987), although more of a drama and romcom, does touch upon some critical news ethics, including the struggle against sensationalism, staged video scenes, and the ongoing debate of glamor versus experience in choosing news presenters.