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The Playlist Informs On You: 16 Notable Whistleblower Movies

” So what makes these stories of insider dealing and clandestine informing so compelling? Is it the subterfuge, the drama, the tangled web our heroes weave when they, essentially, turn spy against the institution that has until then courted and counted on their loyalty? Is it the inspiration to be gleaned from the moral that one right-thinking person really can make a difference, despite insuperable odds, if they have the strength of character? Or is it, simply, that as scandals break around us every day, and as our faith in old institutions (the banks, the church, the government, the media) is ever more eroded we look to the movies to provide cinematic justice and accountability where too often none exists in real life. These are stories in which individuals make tough choices, listen to their consciences and pick sides, often risking life, limb and the good opinion of the people they love—whether a whistleblower is a hero or a rat depends, after all, on your point of view. We may believe less than ever in the benevolence of corporations, organizations and the power-wielding elite, but as long as there are Davids who take on these Goliaths, whatever the cost and whatever the outcome, there is still hope.

With “The Whistleblower” hitting theaters on Friday (and the topic in the news again, thanks to the endlessly gripping scandal developing at News International), we’ve delved into the history of the genre to pick out some other notable examples. Check them out below.

” ). Godell’s subsequent transition from line-toeing company man to suspicious investigator to justifiably paranoid whistleblower, provides the film with much of its emotional power, detailing the toll that such activity can take on one good man, who is inevitably treated as a pariah by colleagues anxious not to rock their bosses’ boat. One of the highlights of ’ directorial back catalogue, it is said that his more classical style of filmmaking found him out of favour in the blockbuster era of the 1980s. But this restraint means the film has stood the test of time well: in its low-key tone it is almost the archetype for a whistleblower film, yet it never feels too familiar. It garnered Oscar nominations for Fonda and Lemmon, and also for the script, though ironically, Fonda was beaten out by , “The Constant Gardener” is more like poetry, lacking a linear narrative and boasting perfectly composed shots alternately from a shaky handheld camera and a smooth steadicam. The juxtaposition continues with its themes and moods; it’s at once utterly romantic and strikingly realistic, both in its depiction of the marriage of Tessa and Justin and the portrayal of the heartbreaking poverty and corruption in Kenya. Tessa is moved by what she sees, as well as troubled when things don’t add up, and her investigation into the issues she has discovered is mirrored by her husband’s own search for answers following her death. Weisz is captivating as Tessa, but she’s ably supported by an unusually sympathetic Fiennes, as well as fellow greats show up as Bob Woodward and Carl Bernstein, bickering like an old married couple, throwing the rest of this unambitious comedy into sharp relief. There are funny moments in and of themselves – Williams’ masturbatory beach fantasy with Nixon is something to behold - but “Dick” dilutes the rest of the crisis down to a series of interminable phallic punchlines and ignores any real attempt at cutting satire. Far too knowing to be dismissed as the backward cousin of “ ” - a dramedy about the 28th President’s attempts to reconcile the America’s burgeoning post-WWI isolationism with some erection jokes thrown in for good measure. And even though it features a scene of Russian General Secretary Leonid Brezhnev brokering a peace deal whilst tripping on space brownies and singing the opening bars of “ all the way to her first (and most likely last) Oscar win, but it also proved that Soderbergh could turn a pretty profit for the studios. And as a film it has a lot going for it, especially Roberts, who is great as the brassy, argumentative, passionately strong-willed Brockovich, an immensely likable character, who never devolves into self pity over her own difficult circumstances, and whose simple, common-sense morality and quick wit proves more than a match for her adversaries. The character goes through ups and downs, but she’s a fighter, and it would take a hard heart to not be rooting, not just for her clients, but for her personally, by the end. The film also packs one hell of a supporting cast including as Michael’s boss. However, Wilkinson is quite brilliant as the manic-depressive Arthur who has an almost-complete break with reality, but not with his morals. The film was nominated for seven Oscars (including Best Director, Original Screenplay and Picture), but Swinton’s was the only win. Accolades aside, “Michael Clayton” is a fantastic examination of shady corporate dealings and the courage necessary to take them down. In ‘Clayton,’ Gilroy, who went on to direct the less-impressive “ ”). It follows Sonja (Lena Stolze), first appearing as a high schooler who is writing about her town’s involvement in the Third Reich for an essay. Despite the insistence of those around her that they didn’t aid in the atrocities, Sonja discovers the sins of the the town’s history, causing her to be an outcast among those she’d considered her neighbors. Sonja becomes obsessed with her investigation over the course of a decade, much to the distress of those in the town who wish she’d just stay quiet and stay out of the past. Though it sounds like standard, depressing Holocaust fare, “The Nasty Girl” is surprisingly lighthearted and even fun at times, thanks largely to the postmodern style of Verhoeven, who lets his heroine speak directly to the audience and constantly, almost playfully, breaks the wall between reality and cinema. Unfortunately, (likely as a casualty of the sale of ”, though here she stops short of ‘hideous’ and goes merely for ‘dowdy’), and fictionalizes the first sexual harassment lawsuit won by a female miner who had endured the abuses of the male-dominated mining company. The performances in the film are solid enough with Theron doing a competent job (though not one necessarily worthy of the Oscar nomination she got) and a particularly strong supporting cast of , providing excellent back up. It’s a shame then that the film just doesn’t come together and here the sensationalist topic only serves to draw attention to bad filmmaking, which is guilty of a sort of prurience: the court aspect of the film is rushed in favor of showing the female miners suffering abuse over and over. And while we empathize with the difficulties these women faced in reality, in the film, the dialogue is too on the nose, and the metaphoric imagery of drilling into the earth just too overt to do the subject matter justice.

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