A Beautiful Mind

 SPOILER ALERT! The plot will be discussed.

 

The title of the film, A Beautiful Mind (2001), takes on depth as the story of mathematician John Nash unfolds. His mental abilities produced Nobel Prize winning insights. But, he also was schizophrenic, so the same mental powers that engendered brilliant rational breakthroughs also created damaging hallucinations. He was someone who was searching for insights in the abstract realm of numbers to be applied to the real world, but he also many times had no connection with reality. 

 

The opening speech from Professor Helinger (Judd Hirsch) at Princeton University in 1947 to new graduate students places a great deal of pressure on the entering class. There is a focus on using the science of mathematics to fight enemies, breaking codes and building the atomic bomb. Nash sits in the back of the room, his eyes avoiding contact, already establishing himself as an outsider. Helinger’s outlook may have contributed to what John Nash (Russell Crowe, excellent here) thought was his purpose and which fueled his paranoia about foreign adversaries targeting him. 

 At the outside reception, Nash observes patterns in what he sees as lines forming geometric shapes light up as he perceives them. This camera imagery is often used by director Ron Howard (winning the Oscar for Best Director here) and his fellow filmmakers to highlight mental epiphanies, according to IMDb. They are flashes of light, showing how his creativity is drawing things together. The scene also illustrates Nash’s witty humor when he says to a fellow student that “there could be a mathematical explanation for how bad your tie is.” Martin Hansen (Josh Lucas) asks Nash to get him a drink, saying Nash presented himself as a waiter, probably because he is wearing a bow tie. Again, Nash’s sarcasm surfaces as he says, “Imagine you’re getting quite used to miscalculation.” He goes on to say that Hansen’s publications lack anything noteworthy. Rivalry obviously exists between these two winners of the Carnegie Scholarship. Nash has nervous, quirky hand movements which show his awkward social skills. Nash also meets Sol (Adam Goldberg) and Bender (Anthony Rapp) here who become Nash’s friends. 

 

In his room, Nash encounters his supposed English major British roommate, funny (“Officer, I know who hit me, it was Johnny Walker) Charles Herman (Paul Bettany), who is suffering from a hangover. While he cracks jokes, Nash writes mathematical equations on his dorm window, a sort of metaphor for how his mental powers shed light on his numerical exploits. In answer to Charles’s questions about him, Nash says he is “well-balanced” because he has “a chip on both soldiers.” It is comical, but it also reveals Nash feeling that he must battle adversity. Charles points out that Nash is better with “integers” than people. Nash adds that he had a teacher who said he had “two helpings of brain but only half a helping of heart.” This discussion points to Nash’s lack of emotional connection to others. He admits that he doesn’t like people and they don’t care for him. He is impatient to bypass personal relationships so he will not waste time on his quest to map out “the governing dynamics” of existence and find a “truly original idea” so, as Charles says, he will “matter.” The two are drinking on a roof, which is fitting as Nash looks down literally and figuratively on the other students, calling them, “lesser mortals.” 

 

Hansen challenges Nash to a board game, and he is astonished that he loses to Hansen. Nash feels his “play was perfect.” Competition is at the center of Nash’s drive to succeed. It is here that he starts to investigate “game theory,” which will lead to the idea of those “governing dynamics” that will be applied to economics and for which Nash will be most known. 

 

Nash approaches a blonde at a bar and is unsocial to the point of insensitivity. He says he is not sure what he is supposed to say so that they can have sexual intercourse, so maybe they should skip right to having sex. She slaps him and walks out. He must learn to try a different tactic, as we soon discover. 

At present, Nash hasn’t been attending classes, which he sees as being just derivative, and not aiding invention. He doesn’t have a topic for his doctoral dissertation, and hasn’t published anything. Helinger tells him that he can't be recommended for placement in a post-graduate position. Nash sees recognition and accomplishment as the same thing, showing his need for validation as the talented outsider. 

 Nash becomes upset, telling Charles he must follow “their” rules in order to get ahead instead of taking the road less traveled. This idea is symbolized by his pushing his desk away from the window, on which he scribbles his equations, where the light of inspiration shines upon him. Charles counters that argument by telling Nash he must follow his passion outside the walls of the educational institution, and he pushes the desk through the window, watching it fall to the ground. The act shows the need for Nash to break through traditional restrictions on his “beautiful mind.”

 Nash is in the bar again. But now he employs a version of game theory when he tells the other math men that if they avoid making a play for the blonde who is present, then they will not have to compete for her, and the other women there will not consider themselves as second choices. That way, they can all “get laid,” and thus win. He says that economist Adam Smith's idea of everyone doing what’s best for himself will automatically be good for the group is “incomplete.” Crowe does a hand gesture with the fingers of one hand curled up touching his forehead. It seems to signify that he has some idea to communicate, but it also shows his shyness, a way of not looking directly at someone. Nash says that the individual must do what’s good for himself and take into account what’s good for the group. He is devising a plan that allows for participation in a goal-oriented strategy that does not have to produce a loser but instead allows each person in the group to win. He goes back to his desk, restored to its spot near the illuminating window, and he begins writing his equations, revising 150 years of economic theory. Helinger is impressed with Nash’s work and gives him the go-ahead to develop his theories on “governing dynamics.” He chooses his pals, Sol and Bender, to be part of his team.

 

When we catch up with Nash later he has his doctorate and has gained that recognition he sought, appearing on the cover of Fortune magazine. The Pentagon calls him to attempt to decipher code they believe the Russians are transmitting. After looking at a wall of numbers, the digits illuminate for Nash, and he says that there are latitudes and longitudes among the figures that relate to routing places in the United States. When he asks about what the Russians may be planning, he is basically told to leave as he is not authorized access to further information. He looks up and he sees a man on a walkway, but the others there do not acknowledge this person. 

 

While in a car, Sen. Joseph McCarthy’s voice is heard, the man who promulgated the “red scare,” and paranoia about communism. The belief that the enemy was among us plays into Nash’s personal feelings of persecution and the urgency being promulgated that mathematics must be used to fight political adversaries. Nash now works at the defense labs at the Massachusetts Institute of Technology. He complains to Sol and Bender that the Russians have the hydrogen bomb, the Nazis found sanctuary in South America, and the Chinese are gaining force. But he complains that he is being underused by being assigned to study stress problems in a dam. He has taken Helinger’s mission that he first heard as a graduate student very much to heart.

 

Nash must still teach classes as part of the deal to keep his research projects going. At the class, he throws the textbook into the trash, showing his disdain for tradition. He sees the class as a waste of his time. He puts an equation on the board as a kind of test to weed out who is worthy of his teaching efforts. In the class is Alicia Larde (Jennifer Connelly, winning a Best Supporting Actress Oscar for this role). By using her attractive attributes, she is able to persuade the construction workers outside to be quiet during the class, winning Nash’s admiration for problem solving.

 Just as Nash has complained that he isn't getting a chance to show his abilities to fight America’s enemies, the man who Nash called “Big Brother” at the Pentagon observing from above shows up to give Nash a chance at more recognition. He calls himself William Parcher (Ed Harris), and he says he supervised security over J. Robert Oppenheimer’s atomic project. When Parcher brings up how many lives can be lost in the pursuit of weapons, Nash is rather cold, saying progress requires the need for sacrifice. Parcher says Nash’s “lone wolf” life will be advantageous, most likely for performing covert activities. Thus, Parcher’s existence justifies Nash’s anti-social nature and his desire for recognition. As they walk into a “secure” area, Parcher says they know him there, so he doesn’t have to show credentials. Therefore, he does not interact with the guard. The above details become important later.

 

Parcher takes Nash into what were supposed to be abandoned warehouses. Inside, he sees many men in white coats operating rows of computers. Parcher tells Nash he now has top secret clearance, and calls him the best natural codebreaker around. Parcher’s function then is to bestow the acknowledgement of Nash’s talents that the mathematician believes he deserves. Parcher says that the Russians took a portable atomic bomb that the Nazis had developed, and the locations that Nash identified earlier at the Pentagon are places the Russians are exploring to explode the bomb. Parcher says that the Russians are placing coded messages in newspapers and magazines, and that’s why they need Nash’s help. Parcher makes an interesting observation when he says, “Man is capable of as much atrocity as he has imagination.” His comment adds irony to the title of the film by showing the underside of a brilliant “beautiful mind.” Parcher’s team supposedly puts an implant in Nash’s arm so he will have access to a drop point where he can deliver his findings.

 

Alicia comes to his office with what Nash calls an “elegant” proof of the problem he wrote on the board, but she made assumptions which didn’t solve the problem. She asks him to dinner, but he says he usually eats alone, and he says he is like Prometheus with a bird circling above. His humorous image reveals that he sees himself as a rebel, like the mythological personage, who gave fire to earthlings. Nash sees himself as a godlike entity who will endure tribulations to bring mental illumination to those incapable of such achievement. 

 Nash takes Alicia to a formal university affair. She is able to navigate his social awkwardness by engaging in his peculiar humor. He draws objects in the night sky by connecting stars with his hand. He sees patterns, maybe where there are none except what we impose on them. The exercise again shows his desire to find form and insights in the universe. However, at the event, he believes men there are observing him, which shows how imagination can warp reality into something ominous. He later drops his sealed classified findings into a lockbox at a gated house by using the changing codes on his implant that are illuminated under a black light. It is done at night and there is a dangerous feel to the place as a car slows down to observe him there.

 

Nash tells Alicia that his directness has not been socially successful, so it is an effort for him to adapt to the rules of society. She encourages him to say what he wants to say. He concedes that even though he finds her attractive and wishes to have intercourse as soon as possible with her, he feels he must go through “platonic” romantic rituals to reach that outcome. He then says he expects a slap across the face, as he experienced earlier at the bar. Instead, she kisses him passionately, showing that with her his honesty is rewarded, and how the two are compatible.

 

Charles reunites with Nash and brings his niece, Marcee (Vivien Cardone), who Charles says he has taken custody of since the death of his sister. Charles says he is close by at Harvard. IMDb notes that when Marcee runs through a field full of birds, they do not scatter, suggesting that she doesn’t exist. Nash tells Charles about Alicia and wonders how he can be sure that asking her to marry him is the correct move. Charles says, “Nothing’s ever for sure, John. That’s the only sure thing I do know.” That unpredictability comes from a person who supposedly studies literature, an art form, and it offsets Nash’s longing for mathematical certainty.

 

Nash meets Alicia at a restaurant and says he needs “proof” and “verifiable data” that would indicate that they can be in a long-term relationship. He says this while bending on one knee. It is like a mathematical marriage proposal. In response, Alicia says she must modify her notions of romance to accommodate his data-driven inquiry. She asks how big the universe is, and he says it is infinite. But, he concedes that impression can’t be proven, so he just believes it. She says it’s the same with love, one can’t prove it, but somehow just believes it. Alicia is able to show that not all things, such as emotions and ideas, can be proven, but they still exist within people.

 The two get married, but on his wedding day Nash sees Parcher with a disapproving look, since the lack of attachments to others supposedly justified his service. This image shows the conflict within Nash. When Nash drops a report off, Parcher drives by, tells Nash the spot is compromised, and they are being followed. They speed away as Parcher fires on the approaching vehicle. The terrified Nash sees the enemy vehicle eventually end up in the water. Nash is distant when he goes home to Alicia, and locks the door of his room behind him, as he is now suspicious of everyone, which reinforces his detachment from others. He looks at his students and out through windows and doors as if everyone is a threat. His warped view of reality paints him as a victim of other forces which are trying to destroy him. 

 

Parcher visits Nash in his office, and his presence is there to prevent Nash from rejecting his immersion into his world of paranoia. Nash asserts that he has a wife and will soon be a father, and wants to quit so as to shift his focus to positive things, away from his preoccupation with fear. But Parcher is here to assert that feeling of dread by threatening Nash, saying if he doesn’t continue his work, Parcher will not protect him from the Russians. 

 

There are shadows on the walls of Nash’s house as he keeps watch through his blinds. They appear to be real, but shadows are just optical illusions, like Nash’s fears. Alicia begins to realize there is something wrong with her husband as he acts irrationally, suspicious of why she turned on the light at night, and then ordering her to leave for her sister’s place. She looks at the telephone and it seems she is about to seek help for Nash.

 

As Nash gives a lecture he sees men entering from the back of the room that he thinks are enemy agents who are after him. He says to his students that one can’t assign values to variables, which shows that Nash can't even find sanctuary among the predictability of mathematics. He runs out of the lecture hall and he is pursued, but not by enemy agents. Dr. Rosen (Christopher Plummer) approaches him and says he is a psychiatrist. Nash punches Rosen and tries to flee. Rosen injects him with a sedative as Nash sees Charles and his niece observe what transpires.

 

Nash has been admitted to a psychiatric facility where he is in restraints. Nash addresses Charles who he sees there, and he believes that Charles betrayed him by delivering him to the Russians. But, Rosen says there is no one there. If we haven’t already deduced it, Nash has hallucinations. Rosen informs Alicia that Nash is schizophrenic, which many times involves paranoia, and her husband’s belief that he is working to discover conspiracies is a symptom of his mental disorder. Moreover, Nash’s occupation allowed these delusions to go on without being discovered. Rosen gets Alicia to admit she never met Charles, saw a photo of the man, or talked to him on the telephone. Nash said that Charles was his roommate, but Rosen discovered that he lived alone at Princeton. Rosen says he must make Nash distinguish between what is real and what are illusions generated by his otherwise beautiful mind.

 When Alicia gets into Nash’s college office she sees how extreme his activity has been, cutting up magazines and placing pictures and articles all over the walls. Sol and Bender, knowing how offbeat Nash is, gave him a great deal of leeway and did not question his covert activities. Sol followed Nash once to the drop site and now Alicia goes to the estate where Nash was supposed to deliver his findings. The place has been abandoned for some time, with the drop box a broken mailbox and the gate opener busted. 

 

At the hospital, Nash adapts the “facts” as he sees them to fit his beliefs, as most conspiracy obsessed people do. He says the Russians can’t kill him because he is too well known, so they are confining him. Alicia tells her husband that she found out there is no Parcher and no conspiracy. She shows him all the unopened envelopes he placed in the mailbox. Of course, he walks out on her because the truth will upend his universe, and he can’t tolerate that. 

 He tries cutting out the implant in his arm, but says that it is already gone. Nash starts to get a glimmer of what has been plaguing him. As Rosen prepares Nash for drug therapy, Rosen says how horrible it is to realize that people an individual thought one knew never existed, and that beliefs one held were completely false. It’s as if the “fake news” that one accused others of propagating was real, and one’s own beliefs were the false ones. 

 

Back at Princeton, Alicia tells Sol that the delusions have passed, but Nash will not show up at Princeton, possibly feeling shame, where his academic competitor Hansen is now department chairperson. She feels an obligation to take care of the man she fell in love with, making sure he takes his medications and encourages him to be active. Sol visits Nash, who tells him not to sit on Harvey, the imaginary rabbit from the film. Nash has kept his sense of humor, saying what’s the point of being “nuts” if one can’t have some fun. But when he hands his indecipherable scribblings to Sol, it is obvious that Nash isn’t capable of functioning efficiently, as he says, due to the effects of the medications he is taking. He still feels that his work is the most important part of his life at this stage. He holds his child while in a stupor, despondent, devoid of any emotional attachment to his family.

 

Alicia has her own paranoia concerning what Nash states, assuming what he says is influenced by his schizophrenia. He tells her he was talking to the garbage collectors, but she says they don’t pick up trash at night. Then she sees the men working outside. They both giggle, and she apologies, probably realizing she too must adjust to what is really happening. But that light moment is followed by a heartbreaking one as Alicia makes sexual overtures in bed and he resists. He admits it’s the medication, which can decrease the libido drastically. She looks devastated, so the implication is that there has been no intimacy for a long time. She goes into the bathroom and throws a glass of water at the mirror, shattering both, and screams her frustration. When Nash takes the shards out to the trash, it is a metaphor for what is broken in their lives.

 

Nash secretly stops taking his pills, most likely so he can provide the intimacy that Alicia wants. But, that brings back his condition as he is confronted by Parcher who has armed soldiers with him. He takes Nash to a large shed on Nash’s property that he staffed with personnel and electronic equipment to pinpoint the location of the nuclear weapon the Russians want to detonate. Nash tries to deny the existence of what he sees, but then submits to the fantasy. The film seems to be saying that delusions which feed our preconceptions are difficult to let go.

 

Alicia hears a radio transmission coming from the dilapidated building on their property, and when she enters she sees that her husband has reproduced his office and plastered the place with newspaper clippings and push pins with thread which try to depict an imagined conspiracy. She runs back into the house where Nash has left their baby alone in a tub filling up with water. He says that Charles was watching over the child, but she can't see him because Charles has “been injected with a cloaking serum.” His own arm implant “dissolved” allowing him to see Charles. The storm that is raging outside mirrors the mental one that is devastating Nash’s mind, tearing down all the sturdy logical ideas that once thrived there. 

 

Parcher appears and tells Nash that he must get rid of Alicia because she is a national security risk. After Alicia sees Nash talking to nobody, Nash then conjures up Charles and his niece, and Charles tells him to do what Parcher said. Nash is mentally at war with himself, wanting to believe what he sees but also protective of his family. Then, his mathematical rationality bursts through with an epiphany that will not allow a delusion to extinguish. He stops Alicia and says that he realizes that Charles’s supposed niece, Marcee, never ages; therefore, she can’t be real. 

 

With Rosen present, Nash still sees Charles and his niece, and Rosen says he must return to the hospital for more treatment. Nash says the medication stops him from working, taking care of his child, and responding to his wife. He says he is a problem solver, and he needs time to figure out the solution. But Rosen points out the dilemma, since Nash’s condition is not like a mathematical mystery, and Nash’s mind can’t be the tool to fix things since the defect is in his brain. 

 

Nash does not want to return to the institution, but fears for how his condition threatens Alicia’s safety. So, he tells her to go to her mother’s place where the baby is already. But, she refuses to leave him, and touches him, saying what’s real is in his feelings, not in his mind. In this way, she expands his sense of reality.

 

Two months later, Nash visits Hansen at Princeton University. Hansen says he is an old friend, and he no longer seems to be a foe. As opposed to feeling that being apart from others allowed him to excel without distractions, Nash now sees being part of a community will help him become mentally healthy. He just wants to be able to hang out in the library. But, he appears outside, fighting his demons, as Parcher resurfaces and harasses him, while others watch as Nash argues with an illusion.

 

But, with Alicia supporting his fight to overcome his symptoms without resorting to extreme medical treatment, Nash goes back to the college library each day, writing equations as he once did, on the windowpanes, letting the real and figurative light shine upon him. He now refuses to speak to his imaginary creations. 

 

Time passes, their son grows up, and there is now a gray-haired Nash in 1978 still working on equations at the Princeton University library. He eventually engages with some students and expresses a desire to teach again. He admits to Hansen that he still sees Parcher, Charles and Marcee, but since he has ignored them, they don’t intrude anymore. Hansen says that they still haunt him, but Nash says. “They are my past. Everyone is haunted by their past.” The problem he must deal with, though, is that Nash’s past just happens to feel like it has more substance in the present than that of others. 

 

The next jump is to 1994 and Nash is an elderly man, but he is back to teaching and working on his math projects. Someone from the Nobel Prize committee visits him, saying he is being considered for the award based on his bargaining theories that have numerous economic applications and eventually even biological evolutionary considerations. Nash realizes that the visit is to make sure he doesn’t embarrass the prestigious awards ceremony by acting crazy. He admits to the possibility that he may act out because he still sees things that aren’t there. He takes newer medications, and says he is on a sort of mental “diet” where he does not indulge his fantasies. While entering the faculty dining area for the first time in years the other professors pay Nash tribute, as he saw they did many years ago for another professor, by giving him their pens. He has received the recognition he once sought.

 The story concludes with Nash’s Nobel Prize speech where he says all of his mental explorations have brought him to the conclusion that, “it is only in the mysterious equations of love that any logic or reasons can be found.” Love, a supposedly irrational area, has provided him the most meaning concerning existence. He directly thanks Alicia for all that he has come to really understand about life as a whole.

The next film is Zorba, the Greek.

The Insider

SPOILER ALERT! The plot will be discussed.

Michael Mann’s 1999 film presents profiles in courage. Jeffrey Wigand’s decision to act for the greater good by telling the truth about the tobacco industry causes him to endure personal suffering. The title of the movie is ironic. Wigand was a corporate insider of the status quo, but, by doing the right thing, which should represent normal behavior, he becomes an outsider. But, the CBS producer, Lowell Bergman, must also fight against resistance and the threat of occupational exile, in order to get Wigand’s information out to the public.

The story starts far from American shores in the Middle East. The camera puts the audience in the position of Lowell Bergman (Al Pacino), a producer for the highly rated and well-respected TV news magazine, 60 Minutes, who has a hood over his head. Hezbollah soldiers take him to meet Sheikh Fadlallah, the leader of the militant organization. After Lowell sets up a meeting between the Sheikh and CBS correspondent Mike Wallace (Christopher Plummer), and the Hezbollah people have left, Lowell tells his assistant “Take your blindfold off. Welcome to the world.” Symbolically, until the journalists deliver the information to us, we reside in the darkness of our ignorance.

The scene switches to scientist Dr. Jeffrey Wigand (Russell Crowe, in an Oscar-nominated performance). He is already becoming an outcast, as he cleans out his desk while the other employees in white lab coats have an office celebration, their jovial attitudes contrasting with his solemn one. There is a slow motion shot of him walking out of the doors of his former place of work, which is a foreshadowing of the last shot of the movie. He drives to his upper-middle-class suburban Kentucky house, which he afforded by taking money from a company that actually undermined the health of the citizens living there, and where he now feels out of place. He delays telling his wife, Liane (Diane Venora), that the tobacco company, Brown and Williamson, fired him. Her first response is not to ask how her husband is doing. Instead, her concern is one of self-preservation, asking about their expenses, and health benefits for their daughter who has asthma. It seems ironic that Wigand, who worked for a business that contributed to so many lung ailments, should have a child suffering from a breathing disorder. Jeffrey, feeling under attack for letting his family down, offers the reassurance that his severance package was a good one, and it included health benefits.

Lowell receives an anonymous package of documents containing the results of a study analyzing fire risks due to cigarette smoking. He needs a technical consultation, and someone recommends Jeffrey. When Lowell calls his house, Jeffrey’s wife answers, and after Lowell says he is with 60 Minutes, she tells Lowell that her husband doesn’t want to speak with him, without even knowing the reason for the call, since she assumes it has to do with his job termination. Being a journalist, Lowell knows there is a story here. (There is a picture of Caesar Chavez on Lowell’s wall, suggesting he admires a rebel who fights for truth, as did the Latino leader). After some back and forth faxes, they meet at a hotel close to Brown and Williamson’s offices. Jeffrey acts very paranoid about the meeting, suspicious of the room service person knocking at the door. Jeffrey says he can do the consultation since it deals with Philip Morris, and does not pertain to his job. His insistence that he can’t say anything else causes Lowell to become extremely curious.

Shortly after his meeting with Lowell, Jeffrey’s former boss, Thomas Sandefur (Michael Gambon), calls Jeffrey in to set down new guidelines for his confidentiality agreement. If he does not comply, all benefits will be terminated. It is possible that the company was following Jeffrey and knew of his meeting with Lowell. Jeffrey is quite angry at the meeting, questioning any justification for calling those present being in the service of true science. He says, “So, what you’re saying is it wasn’t enough to fire me for no good reason. Now you question my integrity? On top of the humiliation of being fired, you threaten me? You threaten my family?” He curses Sandefur, and storms out. Then, he calls Lowell in a rage, saying he sold him out. Lowell gets him to listen to logic, telling him why would he give him up, especially before he received any information from Jeffrey.

Lowell and Jeffrey meet again in the latter’s car during a downpour, indicating the storm of resistance they will have to weather. Not all corporations should be judged the same, according to Jeffrey. He felt that the CEO of Johnson and Johnson did the right thing during the Tylenol scare a while back. The head of that company immediately pulled all bottles off of the shelves, and installed tamper-resistance caps. He put the safety of the people ahead of acquiring wealth. Jeffrey tells Lowell that he went to work for a tobacco company for the money and benefits, and hoped that he could do some good through research. His confidentiality agreement doesn’t allow him to talk any further about his work. Lowell succinctly says that Jeffrey is in a state of conflict, caught between wanting to expose the truth and protecting his family’s economic well-being.

Lowell consults with his staff, including Wallace. The legal advice is that big tobacco never lost a lawsuit. They have tremendous resources, and can tie up the litigation for an extended period of time, causing the opponent to be drained financially. Their defense is the “We didn’t know argument,” which states that if they provide a product which turns out to be harmful, and people choose to use it, the effects are their responsibility. But, Jeffrey knows that the tobacco companies did know that nicotine is addictive, and chemically enhanced its addictive properties, making it extremely difficult for people to exercise free will and stop smoking. Lowell realizes that Jeffrey’s information, because he was a corporate vice-president and noted scientist, would be a crippling blow to the tobacco industry.

Jeffrey becomes a public school science teacher. He tells his students, “I find chemistry to be magical. I find it an adventure, an exploration into the physical building blocks of our universe.” He has transitioned into a job which pays a great deal less than what he used to earn, but which allows him to enjoy his profession. And, he is now working on behalf of the public sector, not to its detriment, inspiring young people with his love of knowledge. He tells his wife that maybe, even though they had to move to a downsized house, this change can be for the better, because he will be able to spend more time with the family. But, his decision to not sign the new confidentiality agreement leaves him open to threats. He is alone as the last person at a golf driving range, when a large man shows up in a suit, hits a few balls before closing, and stares threateningly at Jeffrey. Jeffrey finds footprints in his newly planted garden which shows he is being observed. Also, the destruction of the plants implies that he can’t feel secure enough to put down roots in his new life. His wife receives threatening emails, and Jeffrey finds a bullet in his mailbox. It matches the caliber of one of his guns, and the FBI men who show up are intimidating, implying that Jeffrey, being agitated, may be trying to incriminate his former employer. They also confiscate his computer without even asking permission.

Lowell tries to help Jeffrey as the conspiracy seems to widen against the former tobacco scientist. He calls a contact at the FBI, questioning the way the two agents acted, implying that maybe they may be seeking security jobs with the tobacco companies, or might know people in those jobs, and could have been persuaded to menace the Wigands. Lowell says to his Federal agent friend, “I’m getting two things; pissed off and curious.” His statement carries the threat of how a free press can put fear into questionable activities by threatening to expose them. He also gets private guards to protect the family. However, this need for security further distances Jeffrey and his family as it establishes a barrier between them and the world outside.

Jeffrey admits that he does not like to get pushed around, and after the threats to himself and his family, he tells Lowell he wants to be interviewed. However, when they meet for dinner, he questions Lowell’s sincerity. He says, “I’m just a commodity to you.” Lowell says maybe to the network he is, but to Lowell, he is “important.” Jeffrey wonders if any good will come from his information. He says maybe people watch Lowell’s show because it’s “something to do on Sunday night.” He says maybe what he has to say won’t change a thing, while his family will be “left out to dry, used up, broke, alone.” Jeffrey says all Lowell is putting out there are words. Lowell counters by telling him nobody is making Jeffrey speak out. Lowell tells him not to evade his responsibility by questioning Lowell’s motives. Lowell says he has been putting his reputation on the line publicly, and backing up his words with action, getting stories to inform the people. This back-and-forth exchange highlights the courage needed to open oneself up to attack in order to fight for what’s right.

Lowell wants to work around the confidentiality clause by having Jeffrey compelled to testify in a lawsuit that the state of Mississippi is bringing against the tobacco industry. In the meantime, he and Mike Wallace record the interview for 60 Minutes. Jeffrey says that the CEO’s of the tobacco companies perjured themselves in front of Congress when they said they did not believe nicotine was addictive. As an insider scientist, he knows that they used ammonia to produce “impact boosting,” to cause the nicotine “to be more rapidly absorbed in the lung and therefore affect the brain and nervous system.” Jeffrey says that the tobacco industry inside their doors said they were in “the nicotine delivery business,” so that a smoker would get his or her “fix.” Jeffrey specifically rejected being involved with using a drug that was a flavor-producing additive that was a lung carcinogen, and that is why he was fired.

To illustrate how much influence the tobacco industry has, it pressures a court in Kentucky to put a restraining order against Jeffrey testifying in Mississippi. That state rejected it, but if Jeffrey goes back to Kentucky he could be fined and imprisoned. Jeffrey asks a question that shows how upside-down things have become when he says, “How does one go to jail?’ for telling the truth, and thus endangering his family. After agonizing over what to do, Jeffrey decides to testify anyway. As he rides to the courtroom, Jeffrey passes rows of headstones in a cemetery, possibly reminding us of what is at stake, which represent the lives of numerous individuals that were, and can be, victims of smoking. The disease that tobacco causes becomes a metaphor for a corruption spreading throughout industry and government that threatens the wellbeing of the citizens. However, when he does return to his home, his wife and children have left, his spouse unable to deal with the pressure. As Lowell tells Mike, “These are ordinary people under extraordinary pressure.” In Mississippi, Richard Scruggs (Colm Feore), who is assisting in the prosecution of the tobacco industry, knows what a sacrifice Jeffrey is making. He tells him, “You’re assaulted psychologically. You’re assaulted financially, which is … directed at your kids … You feel your whole family’s future’s compromised. Held hostage.” The soundtrack of the film is a combination of Middle east sounds and jazz. The former adds a mournful, almost sad feel to the film. But both add to a sense of being out of the mainstream of America, which is where Jeffrey finds himself.

Big tobacco then goes after Lowell and CBS, legally. Through a principle called “tortious interference,” they can sue the network for facilitating Jeffrey’s violation of his confidentiality agreement. The CBS lawyer says that the Big Tobacco can sue for enormous sums because “the greater the truth, the greater the damage.” What this implies is that some truths must be concealed if they adversely affect the powerful. The phrase “Too big to fail” comes to mind. Lowell finds out that there is a deal to sell CBS to Westinghouse, and the lawsuit would impair that transaction, and the higher-ups at CBS, including the chief counsel, will suffer financially. So, the tentacles of this financial conspiracy reach into many places. Lowell refuses to shoot an alternative version of Jeffrey’s interview, but Mike Wallace, afraid that Brown and Williamson could wind up owning CBS, cooperates. Wallace records a preface to the severely abridged interview that airs, but CBS even guts that.  

So, now, Lowell, like Jeffrey, who has moved into a hotel room, is all alone, professionally, forced to take a mandatory leave of absence. Jeffrey feels that all he gave up is for nothing if CBS won’t air his interview. However, Lowell works to invalidate smear campaigns against Jeffrey concerning false allegations of shop-lifting and failed custody support involving his prior marriage. He covertly leaks information to The Wall Street Journal and The New York Times, so that information about Jeffrey and Big Tobacco has nothing to do with CBS being involved in breaking his confidentiality agreement. CBS also comes under attack for caving to lawyers and big business, which in a democracy is dangerous because it stunts the free flow of information. As Lowell says to his boss, “Are you a businessman? Or are you a newsman?” With Wallace now on his side, and with, as Lowell says, “The cat completely out of the bag,” CBS airs the complete interview. We see people stopping what they are doing, listening to the program, learning, so that they can make informed decisions. Jeffrey’s daughter looks up with respect at her father as she sees him on the TV, implying that role models are important.

Unfortunately, as Lowell tells Jeffrey, “I’m all out of heroes, man. Guys like you are in short supply.” To which Jeffrey responds, “Yeah, guys like you, too.” In the end, Lowell quits, because his whole assurance of protecting his sources has been compromised by the corporate undermining of the news. He tells Wallace, “What got broken here doesn’t go back together.” He walks out of the building of his employer, and the exit is shown in slow motion, mirroring Jeffrey’s plight at the beginning of the film. Lowell pulls up his coat collar against the unwelcoming cold as an outsider.

Written addendums show that the tobacco companies settled for 246 billion dollars with states that sued them for reimbursement for Medicaid funds paid to smoking victims. Jeffrey Wigand was named teacher of the year in Kentucky. Lowell Bergman taught graduate school journalism at Berkeley, and worked for PBS. The film is a tribute to those who work hard and sacrifice for the good of the many.

The next film is Wag the Dog.