The illumination of the journalistic profession through the prismatic lens of Hollywood offers a vibrant tapestry of drama, tragedy, suspense, and sporadic humor. As the general public only gets a glimpse of the newsroom’s external phenomenon and rarely the inner workings, cinematic narratives can reveal the essence and authority of the press. After spending over three decades in journalism and being a cinephile for over half a century, I’ve selected my top ten journalism-themed movies, topped off with a handful of commendable mentions.
Number 10 is ‘Shock and Awe’ (2017). This somewhat overlooked film delves into the compelling tale of tenacious reporters who unveiled a substantial scandal amidst strong opposition. The narrative intricately captures the chain of misguided information that led to the U.S. invasion of Iraq in 2003, based on the unfounded accusations of Iraq harboring weapons of mass destruction. Our unsung heroes are real-world reporters Jonathan Landay and Warren Strobel from the Knight Ridder Washington Bureau, admirably depicted by Woody Harrelson and James Marsden.
At number 9 is ‘She Said’ (2022). This truthful recasting of the pivotal exposure of Harvey Weinstein’s sexual abuse by New York Times reporters Jodi Kantor and Megna Twohey offers a fresh perspective. It’s one of the few films that spotlights female journalists so effectively.
‘Meet John Doe’ (1941) clinches the eighth spot. This classic narrative reveals how media coverage can champion a noble cause while also underscoring potential misuse of power.
Coming in at number seven is the much-revered ‘Citizen Kane’ (1941). Orson Welles’ magnum opus is centered around Charles Foster Kane, a character bearing a conspicuous resemblance to real-life media magnate William Randolph Hearst. What unfolds is a montage-like narrative demonstrating his rise from humble beginnings to becoming a media powerhouse and influential political identity.
Number six is reserved for ‘His Girl Friday’ (1940). This perennial favourite, frequently reinvented, is a comedic take on the day-to-day lives of a high-strung newspaper editor and his former wife-turned-ace reporter.
‘The Sweet Smell of Success’ (1957) occupies the fifth position. This film presents a daring expose on the darker, power-centric side of the media, featuring the dominant J.J. Hunsecker, a fabricated gossip columnist at the make-believe New York Globe.
In the fourth position is ‘Network’ (1976). The story is built around Howard Beale, a network news anchorman at the pinnacle of his career in the 70s, who suddenly finds himself on the brink of demise when a slump in viewership triggers his exit, setting off a chain of events that lead to challenging confrontations with the network and its parent company.
‘Absence of Malice’ (1981) slides into the third spot. This film provides an excellent critique on the reverberating consequences when ethical guidelines in the newsroom are casually compromised.
Number two belongs to ‘Spotlight’ (2015), a film that resonates deeply with me. It masterfully outlines the Boston Globe’s investigative unit’s Pulitzer-prize winning endeavor in 2001, shedding unprecedented light on the then rampant priest sex scandal.
Topping the list is ‘All the President’s Men’ (1976). This film’s timeless appeal lies in its meticulous portrayal of the most well-known journalistic probe in America’s history – Watergate, sketching in careful detail the series of events leading up to Richard Nixon’s unraveling.
I also want to acknowledge ‘The Mean Season’ (1985), a thriller where a journalist’s career revitalizes after a serial killer decides to use him as a confessional outlet. However, the success turns sour as the journalist’s fame overshadows the killer’s notoriety.
‘The Paper’ (1994) is another laudable mention, giving audiences an insider’s view of New York’s tabloid turf wars during the 80s and 90s. The film slows the pace to take us on a 24-hour journey with the city’s tabloid dynamo, highlighting the changing media landscape over the past few decades.
‘The Post’ (2017) deserves a mention for its riveting retelling of events when The Washington Post battled for the right to publish the Pentagon Papers, long before the rumblings of Watergate surfaced.
Lastly, ‘Broadcast News’ (1987), although leaning more towards romantic comedy, does manage to touch upon significant journalistic ethical quandaries, including sensationalism, staged video scenes, and the friction between charm-led news presentation and experience-led reportage.