Shattered Glass Reviews

A profissão do jornalista é muito cobrada por todos, inclusive pela própria mídia. Os fatos têm de ser tratados com total veracidade e a maior imparcialidade possível. Nisso, ou melhor, no inverso disso, baseia-se o filme O Preço de uma Verdade. Dirigido por Billy Ray, o filme conta a derradeira carreira de Stephen Glass numa das revistas mais influentes do Estados Unidos: The New Republic. Baseado em fatos reais.

Stephen Glass (Hayden Christensen), 24 anos, jornalista da The New Republic, escreve há meses artigos falaciosos de fatos que nunca existiram. Tudo sem deixar a mínima suspeita, por tratar seus colegas de trabalho com extremo afeto, tratamento este recíproco por todos. Seus artigos são inventados a partir de fontes inexistentes, anotações forjadas e fatos nunca privados. No entanto, ao longo do filme, Stephen se mostra ávido a provar e contornar todos seus artigos, sem nenhum cansaço.

Até que um outro jornalista, Adam Penenberg (Steve Zahn), de outra revista, Forbes, suspeita de um artigos de Glass e decide verificá-lo. Assim, fica claro o clima de rivalidade, mesmo que amena, que permeia as revistas, neste caso, no campo jornalístico, se policiando e esperando o próximo vacilo do concorrente. O longa toma essa rivalidade como ponto de partida para o desenrolar da história. Stephen e seu recém contratado a editor Chuck Lane (Peter Sarsgaard) partem para defenderem-se da concorrência.

A narrativa linear de O Preço de uma Verdade é alternada às cenas, divididas em diversas partes, de Stephen dando uma palestra em sua antiga escola, onde cursou o ensino médio. O centro da história é Glass, visto que a narrativa tende a mostrá-lo, inicialmente, livre de suspeita, enganando até a quem assiste. A fim de mostrar os bastidores de uma redação e do meio produtivo do jornalismo, fica notável o quanto importante é a busca, o bom uso e a confirmação de fontes verdadeiras para a qualidade de um bom jornalismo.

A âmbito das atuações, nenhuma decepciona, embora também nenhuma se destaca tanto. Salvo apenas a atuação de Peter Sarsgaard, o editor Chuck, que vai do compreensivo ao ostensivo em questão de cenas, sabendo dosar as emoções com competência e convencimento. Mesmo que o filme esteja voltado apenas para Stephen, em planos fechados sobre o seu semblante, ora rígido de segurança, ora acuado sob as acusações.

Mostrando como funciona basicamente o jornalismo em seu modo de fazer, O Preço de uma Verdade dá um exemplo de como não fazer jornalismo. Do uso e manipulação de fontes às relações diplomáticas entre os jornalistas. Durante o filme todo, talvez as únicas verdades contadas por Stephen Glass estejam no que ele diz em sua palestra. Isso só quem viu o filme pode entender.

Retelling the truly fascinating story of journalist Stephen Glass who was able to fool the New Republic and several other credible publications with his partially (and sometimes completely) fabricated articles Billy Ray's Shattered Glass is a bit of a mixed bag.

It does a solid job of recounting the basic facts surrounding Glass' deceptions and is helped along nicely by a wonderful performance by Hayden Christensen who perfectly embodies the charms and annoyances of an overeager, endlessly deceptive human being. However, there are numerous secondary characters that simply populate the screen. Peter Sarsgaard as Glass' editor and Steve Zahn as the man who finally sees through the deceptions are mostly bland and seem poor foils for Christensen's Glass.

This is a shame because the story is very fascinating. Its just that when the performances are mostly flat one has a hard time believing that the stakes (I think Ray intends to have his viewers believe that journalistic integrity is on the line here) are truly getting raised. The moments in which the movie should be at its peak are instead its weakest. When Glass' fabrications are found out by Zahn it is almost unbelievable. As a viewer it is hard to be on the edge of your seat when the only detective work needed to break one of history's greatest stories about the failure of journalistic integrity is a couple of Yahoo searches and some phone calls.

That being said there is definitely some interesting stuff at work here. Ray effectively blurs the line between reality and fiction, a motif that gives real insight into the titular persona and his portrayal of a man on the verge of losing his livelihood is particularly resonant. Strangely enough it could have used a bit of the Stephen Glass treatment. Instead of simply retelling events faithfully (which I believe Ray does) he could have punched the story up a bit to give the viewer a palpable sense of tension and importance. Taken as a portrait of a quasi-artist, however, Shattered Glass is a success.

"He handed us fiction after fiction, and we printed them all as fact. Just because we found him entertaining. It's indefensible."

In 2003, Stephen Glass - a disgraced former hotshot journalist - published his first novel, entitled The Fabulist. In this novel, Stephen detailed his experiences writing for The New Republic...or, more accurately, fabricating stories for the respected magazine. Shattered Glass is an excellent, predominantly faithful retelling of Stephen's days working at The New Republic before the falsity of his stories was finally uncovered. Written and directed by Billy Ray, Shattered Glass is an incisive, intensely engaging drama as well as a brilliant exposé of the pressures and politics of journalism. Carefully combining the facts with a pinch of artistic license, Billy Ray's extraordinary motion picture caters for both those familiar with the story as well as the newcomers. Frankly, though, if you're in the dark about the Stephen Glass fiasco, you're in for a terrific story made all the more compelling by writer-director Ray's understated approach to the material.

After starting out as a promising journalist for The New Republic (the "in-flight magazine of Air Force One") and rising to meteoric heights in his early 20s, Stephen Glass (Christensen) is on his way to the top of the journalistic profession. Seeking a short-cut to fame, Stephen began using fiction in his work; concocting sources, quotes and even entire stories. Consequently, his articles are cutting-edge; drawing on a seemingly endless supply of insider contacts and informants. His deception, however, did not slip under the radar forever...

Stephen Glass' world begins to unravel when the popular editor of The New Republic, Michael Kelly (Azaria), is sacked due to complications with his superiors (mainly due to his tendency to defend his staff). Replacing him is the unpopular Chuck Jones (Sarsgaard) who isn't prepared to show these writers the same respect.
A lowly internet journalist (Zahn) is suspicious of Stephen's latest article about a pubescent hacker from the suburbs hired by a major software company, and begins to do some digging. As accusations begin to pour in that this story is phoney, Chuck (unwilling to overlook these claims) makes it his duty to thoroughly investigate the situation. This sets in motion a chain of events that ultimately exposes the years of deceptiveness perpetrated by one of the publication's star writers. All told, 27 of Stephen Glass' 41 articles were found to be either wholly or partially fictional. This shocking revelation shook a successful journalistic establishment to its core, and forced considerable revisions of codes of ethics and proof reading procedures. That for so long he managed to avoid being found out is astonishing considering the outlandish nature of his stories.

"The New Republic, snobbiest rag in the business, the in-flight magazine of Air Force One... and their star goes out and gets completely snowed by a bunch of hackers. I mean, God couldn't have written this any better."

This dynamite character drama predominantly concerns the confrontation between the appealing, unscrupulous Stephen Glass and the pedantic, solemn Chuck Lane, and the two drastically different types of journalism they embody - one is committed to entertainment, and the other to truth. When these two men come into conflict, they both stand their ground with the staunch obstinacy of heroes in a Greek tragedy until compromise becomes unattainable, and disaster (for at least one of them) is inevitable. The product is a genuinely gripping story overflowing with strong, flawed characters and compelling drama.

Shattered Glass, the feature film debut of screenwriter Billy Ray, meticulously chronicles the rise and fall of the protagonist. Among other things, the film shows how Glass ingratiated himself with his co-workers, as well as how he constantly squirmed, connived, and deceived to elude the ever-tightening noose. It's clear that Glass is mentally messed up - he takes night school, has serious personal problems and ended up in therapy for several years. Stephen is also a brilliant manipulator, which is evident in his interactions with the staff. Playing innocent, Steve constantly protests "I didn't do anything wrong". Writer-director Ray is careful never to demonise Steve. This portrayal isn't one-sided, but his actions and accountability speak for themselves. Complimenting a secretary about her lipstick does not counterbalance falsifying stories. However, Ray's script falters in terms of depth; it fails to shed sufficient light on Stephen Glass' motives & methods - i.e. the "why" and "how" has been excluded. The film never truly gets inside Glass' head; therefore as a character study it isn't effective enough.

One must always bear in mind that Shattered Glass is based on a true story. Stephen Glass, Chuck Lane, Michael Kelly and various other key characters all exist, although Stephen's editor-girlfriend Caitlin (Sevigny) and perhaps a few others are merely fabricated composites of real people. Glass' actual articles also appear in Ray's film. Even the dialogue is reportedly extremely accurate (some scenes virtually verbatim). The dialogue can only be an approximation of what was really said at the time, but writer-director Billy Ray (striving for the highest level of authenticity) conducted extensive interviews with the main players, and even allowed the real Lane to examine the final script (according to Lane, the scene in which Lane confronts Glass in front of the TNR magazine covers is practically a precise retelling of the actual events). The film itself is therefore the very compromise its characters so glaringly fail to achieve, generating a terrific story without sacrificing its integrity or authenticity...and it remains remarkably entertaining.

This riveting drama is bolstered by incredible performances by both Hayden Christensen and Peter Sarsgaard. Christensen (actually on his way to redeeming himself for Attack of the Clones) is impeccable as the consummate conman, manipulating his peers and superiors by telling them what they want to hear as well as exuding innocence. His juvenile refrain "Are you mad at me?" is so disarming one almost wants this guy to succeed in his lies...almost. The actor perfectly presents the character as a wide-eyed and seemingly naïve kid with many childish mannerisms, and an almost pathological need to be liked. Played with a skilfully handled combination of insouciance, charm and indefatigable conceit, Christensen places forth his best work to date.
Christensen may be exceptional, but it was Sarsgaard who was the breakout star of Shattered Glass, earning several awards (including a Golden Globe nomination) for his portrayal as an editor who slowly grows furious at the lie that has been pulled on him and the magazine. His work is subtle and keenly-observed. It's the type of acting that's so natural one gets lost in it; losing sight of the actor as an actor and only seeing the character he's embodying. Chuck is a character under pressure from everywhere. His allegiance to Michael Kelly is tested, his integrity is questioned, his colleagues dislike him, his young star is under fire from a rival publication, and the whole reputation of The New Republic itself is on the line. It'd be easy for an actor to mismanage these threads and overplay crucial moments. Sarsgaard, however, never falls victim to this... not even for the briefest moment. His performance is unreservedly perfect. Why he was overlooked by the Academy Award committee is frankly bewildering.

But Christensen and Sarsgaard aren't the only ones submitting remarkable performances, as the movie also boasts a plethora of supporting talent. Chloë Sevigny (still recovering from the Brown Bunny fiasco) and Melanie Lynskey are superb as loyal co-workers manipulated by Glass into acting as his mother hens. Steve Zahn (known for his comedic work) is confident and compelling in a more dramatic role as the determined online editor who brings the scandal into the open, and he's supported by the capable Rosario Dawson. Hank Azaria is also sublime as Stephen Glass' first editor who adamantly defends his staff and demands the highest level of journalistic honesty. Most of Glass' fabricated stories, however, were published when Kelly was editor of The New Republic...the appeal of the young man blinded his editor. There is not a single weak spot in this cast.

Shattered Glass is amazing for its faithfulness and accuracy, and (most shockingly) it proves that Hayden Christiansen can actually act (erasing awful memories of his soulless performance as Anakin Skywalker in Attack of the Clones). Writer-director Billy Ray's incredible motion picture pulls no punches and makes no villains out of anyone. Shattered Glass is an incredibly spellbinding film that pulls you in from the very first frame with characters that seem instantly familiar. Most of these actors (all of whom are uniformly excellent) will never be better than their performances here. This is an outstanding first directorial effort from Billy Ray. Utterly suspenseful and strongly paced, Shattered Glass manages to build a sense of dread and anxiety that's exceptional considering the ending is obvious and well-known. Although the film lacks a certain depth as a character study, this transfixing, claustrophobic drama proves that a good story and a subtle approach can be just as effective as any SFX-loaded blockbuster. A fascinating, highly mesmerising morality tale!

8.3/10