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ON FAITH & MEDIA View Comments

J. Edgar

By
Sr. Rose Pacatte, F.S.P.
Source: AmericanCatholic.org

Clint Eastwood’s latest directorial masterpiece is a biopic about J. Edgar Hoover (1895 - 1972) with Leonardo DiCaprio in the lead role.  Hoover directed the Federal Bureau of Investigation for 48 years and, according to the film, was a virtual demigod, a hybrid of a government servant who served his own ego above all.
 
The film shows aspects of American history few are probably familiar with such as the Palmer Raids carried out under the direction of Attorney General Alexander Palmer, “The Fighting Quaker” to qualm activities of anarchists, real (bombings did occur) or perceived, between 1919 and 1921. It was one of the first times the Justice Department acted against theoretical threats and ideas, something that Hoover would continue using illegal wiretaps and other means to protect the country as he thought was needed.
 
Hoover saw socialism and communism everywhere.
 
Much of the film is dedicated to the kidnapping of the 18-month old son of Charles (Josh Lucas) and Ann Morrow Lindberg and the scorn with which the New Jersey State Police treated Hoover’s belief in forensic science to solve crimes. If there is one thing that Hoover did that remains a huge civil and cultural influence today, it is in the area of forensics. There would be no CSI or legal programs without his groundbreaking work in forensics and centralizing the data.  Ideally, this kind of information could catch criminals as well as, hypothetically, clear the innocent. He also envisioned a national identity card, though even today, this idea is not acceptable to U.S. Citizens because of privacy issues. To Hoover, his vision of national security tempted the Constitution and all civil rights.
 
The film shows Hoovers close relationship with his secretary of more than fifty years, Helen Gandy (Naomi Watts). He trusted her above everyone as some say because they were both “married” to the Bureau. She destroyed many files upon his death and insisted none were official, though Hoover was known to have kept personal files on many people. He best friend and colleague was Clyde Tolson (Armie Hammer), with whom some think Hoover had a homosexual relationship. Tolson was Hoover’s deputy and they took vacations together; neither married. No one knows for sure what Hoover’s sexual orientation was, he was most certainly repressed, but the film seems to represent that his mother (Judy Dench) had a dominant influence on him in all ways and deterred him from a sexual relationship with a man. He lived with his mother until her death.
 
The story is told in a non-linear style, moving back and forth between the years, editing the young and aging the characters in an almost seamless fashion.  The film is surely going to be recognized for make-up and costume design.
 
DiCaprio is brilliant, as usual, and inhabits his character completely. Armie Hammer as Tolson often tries to reign in Hoovers zeal, and is a loyal yet vulnerable friend though Hoover’s fastidious pride almost never allows empathy. The script by Dustin Lance Black is complex and crisp.
 
Eastwood’s vision is interesting because he is commenting on American individualism taken to the extreme of almost unbridled power that neither elected or appointed government officials could regulate.
  Eastwood never strays far from the Western myth and the consequences of accepting it without question.


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Jeanne Jugan: 
		<p>Born in northern France during the French Revolution—a time when congregations of women and men religious were being suppressed by the national government, Jeanne would eventually be highly praised in the French academy for her community's compassionate care of elderly poor people.</p>
		<p>When Jeanne was three and a half years old, her father, a fisherman, was lost at sea. Her widowed mother was hard pressed to raise her eight children (four died young) alone. At the age of 15 or 16, Jeanne became a kitchen maid for a family that not only cared for its own members, but also served poor, elderly people nearby. Ten years later, Jeanne became a nurse at the hospital in Le Rosais. Soon thereafter she joined a third order group founded by St. John Eudes (August 19).</p>
		<p>After six years she became a servant and friend of a woman she met through the third order. They prayed, visited the poor and taught catechism to children. After her friend's death, Jeanne and two other women continued a similar life in the city of Saint-Sevran. In 1839, they brought in their first permanent guest. They began an association, received more members and more guests. Mother Marie of the Cross, as Jeanne was now known, founded six more houses for the elderly by the end of 1849, all staffed by members of her association—the Little Sisters of the Poor. By 1853 the association numbered 500 and had houses as far away as England.</p>
		<p>Abbé Le Pailleur, a chaplain, had prevented Jeanne's reelection as superior in 1843; nine year later, he had her assigned to duties within the congregation, but would not allow her to be recognized as its founder. He was removed from office by the Holy See in 1890. </p>
		<p>By the time Pope Leo XIII gave her final approval to the community's constitutions in 1879, there were 2,400 Little Sisters of the Poor. Jeanne died later that same year, on August 30. Her cause was introduced in Rome in 1970, and she was beatified in 1982 and canonized in 2009. </p>
		<p> </p>
American Catholic Blog The joy of the Lord is our strength. Therefore, each of us will accept a life of poverty in cheerful trust. We will offer cheerful obedience from our inward joy. We will minister to Christ in the distressing disguise of the poor with cheerful devotion. If our work is done with joy, we will have no reason to be unhappy.

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