(initial question in the film from Kenneth Feinberg to his law school class)
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
Worth (Sara Colangelo) rated PG-13 119 min.
Opening Chatter (no spoilers): Just one review this week because I’m still spending a lot of time trying to help acclimate a new cat to our home, getting her used to us as well as her intended-older-sister, so when she’s not too shy to get her photo taken I’ll add a picture of her to this blog sometime soon (I hope). There’s also the reality that of the streaming options available to me (while the theater cash registers are ringing furiously for Disney’s Shang-Chi and the Legend of the Ten Rings [Destin Daniel Cretton], but I’m ready for a break from superhero films for awhile anyway, Wonder Woman excepted [glad to see Shang-Chi … has an Asian protagonist, though]) there was only one that really caught my interest (so I spent some time instead reconnecting via PBS and Netflix DVD with a couple of Sidney Lumet masterpieces, 12 Angry Men [1957] and Network [1976], plus our annual revival of one of my wife Nina’s all-time-favorites, Picnic [Joshua Logan, 1955], a rare movie taking place on Labor Day*), Worth, a marvelous exploration of the true story of how lawyer Kenneth Feinberg (Michael Keaton) was called on by the U.S. government to oversee a plan for compensation to the families of the many thousands killed by the terrorist attacks on NYC and D.C. on September 11, 2001. The focus is on how his attempt to construct an all-encompassing-rubric to determine payout amounts is initially rejected by many—including public crusader Charles Wolf (Stanley Tucci)—who feel a janitor’s life is as valuable and worthy as a top executive. The testimonies by the many survivors (all actors, not actual relatives of those departed, as best I understand) are heartbreaking, even as the film as a whole moves along in a rather tensely-objective-fashion (you could get all the necessary details on this plot from Internet sources, but, for procedural continuity, I’ll establish some Spoiler warnings below as usual). Available to Netflix streaming subscribers. Also, in the Short Takes section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this burned-out-BlogSpot-drone—oh, tedious software!), plus my standard dose of industry-related-trivia.
*While I think Picnic wallows in melodrama (uh oh, Nina read this), it’s also a great sociological study of gender roles from that era, especially when William Holden gets angry, calls Kim Novak “Baby” from that point on, rather than her name, Madge. What Nina really loves about it, however, is this steamy dance scene to “Moonglow” between Holden and Novak which she could probably just watch in auto-reply for 2 hours as “same old Hal” and “the pretty one” make their desired-connection.
Here’s the trailer for Worth:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $. To help any of you who want to learn more details yet avoid those important plot-reveals I’ll identify any give-away sentences/sentence-clusters like this:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: Another “based on a true story” experience (effectively done here), this one’s inspired by events between Sept. 2001 and Dec. 2003, along with the actual book by our actual protagonist, Kenneth Feinberg (Michael Keaton), about these tragic occurrences, What Is Life Worth?: The Unprecedented Effort to Compensate the Victims of 9/11. As presented on screen (after testimony from a woman about her lost son without even a body to remember him by), we begin by briefly meeting those whose presence will be the crucial elements as this film makes its way from the 9/11/2001 disaster to the grueling tasks beyond: Feinberg, teaching a class about compensating victims of atrocities at Georgetown Law School in Washington D.C., another day taking a train back to NYC where he’s so absorbed with listening to opera on his headphones he doesn’t initially see the Twin Towers attack; Charles Wolf (Stanley Tucci) bidding wife Katherine (Stephanie Heitman) goodbye as she sets off to her office in the World Trade Center; fireman Nicholas Donato (can’t find him in a cast list; never even see his face on screen), also in a rush to get to work as wife Karen (Laura Benanti) sends their 3 children on their way to school that morning.
Following these introductions we get some news footage of the tragedy in lower Manhattan that awful day, but the focus of this film is on how Congress swiftly voted to establish payments for the families of those killed in the assault, then Feinberg’s recruited to be the Special Master of the September 11th Victim Compensation Fund (his wife, Dede’s [Talia Balsam], initially unsupportive, aware of what a huge, horrible task he’d be facing), which also brings his law firm into this near-impossible-process (pro bono, to boot!), especially his primary co-worker, Camille Biros (Amy Ryan), and a new associate, Priya Khundi (Shunori Ramanathan), formerly a star student of Feinberg’s who originally passed over his firm for another in NYC, only to see it destroyed as the Towers collapsed. The demands on this Fund are imposing: a deadline of Dec. 22, 2003 to sign up those who will take the offers Feinberg makes; an initially unknown number of the dead that could be in the range of 7,000, making the situation quite ambiguous; the need to get at least 80% of the identified-to-be-compensated to sign on else individual lawsuits against the involved airlines (American, United) would bring them to bankruptcy, severely damaging the entire U.S. economy. Feinberg attempts to structure a compensation formula based on the lost earnings of each individual; however, when he meets with a large group of the survivors he’s hit with hostility about how lives of executives are seemingly worth more than blue-collar-workers, as if the pain of those impacted isn’t shared equally.
More precisely, Charles Wolf—in response to his wife’s death in the attacks—has started a Fix The Fund website opposing Feinberg’s procedures. More anger comes from Nicholas’ brother, Frank (Chris Tardio), wanting a better sense of memory for his sibling who gave his life trying to save others in those doomed buildings. However, by early 2002 Camille and Priya get support from many blue-collar-survivors, happy to get $200,000 apiece with no impact on their immigration status while Kenneth faces ongoing-opposition from Lee Quinn (Tate Donovan) representing wealthy clients who want more than Feinberg’s offering, threatening to crash the entire Fund procedure or—just as bad—send it back to Congress for more debate which would likely terminate it anyway over years of hot-air-rhetoric as well.* Adding to the increasing run of mental/emotional trauma Feinberg’s feeling about these difficulties (even as he’s asking his team to be objective, not subjective) there’s the horrible pain felt by Graham Morris (Andy Schneeflock) because his deceased-partner Tom’s compensation will go to his parents as they deny their son was gay, reject any connection with Graham, have Virginia law on their side with no recognition of same-sex-domestic-partners. As if he needed any further complications in this increasingly-morbid-situation, Kenneth learns that Nicholas Donato had an affair that produced a couple of kids so his compensation should be shared among 5 children, not 3, although Karen insists she doesn’t want any money. ⇒As all of this begins to mount up (supported by brief statements of regret from many other heartbroken survivors), Feinberg decides to not rely strictly on his formula but to decide compensation based on individual situations, a change of heart which brings Wolf on board, leading to a late rush of signups, ultimately getting 97% of the claimants (5,560) to share over $7 billion with only 94 people not participating (Feinberg also relieved when Karen admits she knew about the affair, decides to take what’s coming to her on behalf of Nicholas' 5 kids).⇐** Graphics before final credits note many of Feinberg's other cases, 2 additions to the original compensation authorized by Congress in 2011, 2019, further aiding ongoing first responders/other victims ailments (may need a NY Times subscription to access this article).
*Quinn's clients' insistence on even-bigger-payouts reminds me of a line from a very-insightful-song by Leonard Cohen, "Bird on the Wire" (on his 1969 album Songs from a Room): "I saw a beggar leaning on his wooden crutch He said to me, ‘You must not ask for so much.’ And a pretty woman leaning in her darkened door She cried to me, ‘Hey, why not ask for more?’" It's all privately-relative.
**If you want more details on the plot of Worth, see this article, which, of course, gets into Spoilers.
So What? Keaton's one of those go-to-actors whose range seemingly is unlimited across 5 decades of roles on cinema and TV screens, whether he’s playing an obnoxious ghost (Beetlejuice [Tim Burton, 1988]), a superhero (Batman [Burton, 1989], Batman Returns [Burton, 1992]), an actor who plays a superhero (Birdman or (The Unexpected Value of Ignorance [Alejandro G. Iñárritu, 2014; Best Actor Oscar nomination for this role; review in our November 6, 2014 posting—back in the days of atrocious layout, sorry]), a fictional beaten-down-but-responsible journalist (The Paper [Ron Howard, 1994]), a true-life investigative journalist (Spotlight [Tom McCarthy, 2015; review in our November 19, 2015 posting—layout’s still struggling a bit]), or other historical figures: former U.S. Attorney General Ramsey Clark (The Trial of the Chicago 7 [Aaron Sorkin, 2020—review in our October 22, 2020 posting]). In the case of Feinberg (from MA, hence the heavy Bostonian accent in this film), here’s a man with an equally-extensive-career, his in law, where he’s most noted in cases of mediation/dispute resolution, helping get aid for victims (or their survivors) of heinous crimes such as shootings at Virginia Tech (2007), the BP Deep Water Horizon oil spill in the Gulf of Mexico (2010), sexual abuse claims against Jerry Sandusky and Penn State U. (became public in 2011), the Aurora, CO moviehouse shootings (2012), the CT Sandy Hook Elementary School shootings (2012), the Boston Marathon bombing (2013), and the Independent Reconciliation and Compensation Program of the Archdiocese of New York (2016) addressing sexual abuse of minors by some clergy.
Such Feinberg-administered situations are briefly listed before the final credits of Worth. (With more info on his life found at sites such as this one and another, more-detailed-one here. You might also be interested in this article which explores the fact vs. fiction situations of the film, showing how only minor dramatic adjustments were made in the script in regard to the actual historical record.) Obviously, this film is intended to coincide with the multiple documentary explorations of the horrors of the murderous 9/11/2001 al-Qaeda attacks on NYC, the Pentagon, and the intended one nullified by passengers reclaiming their jetliner from the terrorists, resulting in a crash into a Pennsylvania field (the latter dramatized in United 93 [Paul Greengrass, 2006]), but here the focus isn’t so much on the devastating demolition of Manhattan’s Twin Towers with the resultant loss of life at the time, followed by additional deaths/suffering over the 20 years since by first-responders who’ve endured bodily harm from all the deadly chemicals released into the atmosphere around horrid Ground Zero.
Instead, this film is more about the grief suffered by the survivors of those killed in the attacks, their pain, frustration, and anger at initially being set for compensation by an economically-based-formula focused on potential future earnings of the individual dead rather than the continuing trauma the event/its ongoing-aftermath caused for those left to mourn the loss of their family members. That key question of how much is a life worth is not one that can ever be answered in pure monetary terms but only in the subjective deliberations of what could have been, what tangible value can ever be put on loss in a grim effort to offer some relief to those whose nightmares from such grotesque events can never truly be healed, only accepted with all the empathy we can muster, so that the main plot here of Feinberg vs. those who see him as too robotic, too calculating, too removed from the plight of the long-sufferers is balanced by occasion uses of brief testimonies of those whose pain is still fresh, even a couple of years after the assaults. Certainly this is not a pleasant story to watch, but it’s told in a mostly-quiet, compelling manner, adding needed elements to the larger concept of the 9/11 tragedy, one now being remembered in many ways as we approach the 20th anniversary of the attacks while living through the ongoing-situation in Afghanistan as some Americans and many more Afghan allies still find themselves left behind in this once-again-Taliban-controlled nation with arguments from all political sides as to what—if anything—was gained in the aftermath of 9/11, with all of the American military lives lost and trillions of dollars spent in invading/quasi-occupying Afghanistan and Iraq, with few satisfactory answers to be found. At least in Worth we see how one specific aspect of this grim, complex situation finally found a sense of closure even as a few of those impacted declined the settlement, seemingly unconvinced true justice had ever been accomplished.
Bottom Line Final Comments: Considering how impactful I found this terrific film to be without it deteriorating any more than it had to into histrionic-scenes of recriminations of Feinberg and his associates by those victims’ survivors who felt their losses were being treated as if all that mattered were insurance company actuarial tables, I was notably surprised the CCAL wasn’t more supportive. (In fact, I debated giving Worth 4½ stars, as aspects of it reminded me of Spotlight, far and away one of the best films I’ve reviewed in the almost-10-years this blog’s been on the Internet, but I eventually decided I was being just a little too swayed by the raw emotion of the grieving family members so I’ve backed off a little to a solid 4, with the sense Worth will easily be in my Top 10 of 2021.) The critics at Rotten Tomatoes gave 77% positive reviews, those tallied by Metacritic got only to a 66% average score, so I probed further to see what was missing in the minds of the dissenters. After looking over a few of the negative reviews I decided this one from Amy Nicholson of Variety is indicative enough for those who weren’t as enthralled by Worth as I am: “Though Feinberg is a singular figure in modern American history (few else could, or would, do his job), ‘Worth’ hammers his story into a standard biopic template — Grinch Finds Heart — as though one man discovering empathy is truly priceless. […] ‘Worth’ fudges the stakes by focusing on the question of whether he can get 80% of the families signed to the deal before the December 2003 deadline. The countdown clock distracts from the supposedly serious moral drama. The stakes are too high, and too real, for a script structured like a comedy about an emergency bikini car wash to save the sorority house.” Dismissing any film is any critic’s prerogative, but to somehow reduce what’s happening in this powerful drama as being like “an emergency bikini car wash to save the sorority house” is so snide, so off-the-mark in my opinion that I don’t see how anyone with professional integrity could make such a statement—just as those victim-survivors in Worth couldn’t comprehend how Feinberg could reduce the personal pain they were feeling to the level of his one-size-fits-all-compensation formula.
Certainly Nicholson and others who join her in the “splat” zone of tomato-hierarchy feel they have justifiable reason to be so dismissive, but it feels as if somehow they wandered into the wrong screening room, watched what they assumed was Worth, then dug into it with knives out. For me, it was an informative-while-still-emotional-experience which I don’t hesitate to recommend, although you have to be a Netflix streaming subscriber to see it (it’s only about $14 for a one-month trial; “worth” it to see this film in my opinion, then you've got access to the rest of their collection). OK, enough chatter because it’s clear enough where I stand on the grand merits of Worth; rather than get repetitious, though, I’ll just close with my usual tactic of a Musical Metaphor that speaks in a final manner to what’s gone before, using the power of music to enhance the prose. For Worth (not to be confused with Ft. Worth, the Texas city near Dallas where a lot of my relatives used to live before going to that great big bluebonnet field in the sky) I wish I could come up with something more clever, to speak to the ongoing subtleties of the film, but the best I’ve been able to do is Pink Floyd’s “Money” (from the superlative 1973 The Dark Side of the Moon album) at https://www.youtube. com/watch?v=cpbbuaIA3Ds—a song I’ve felt compelled to use 8 times already as monetary matters keep surfacing in contemporary cinema—which focuses on the more obvious aspects of Worth’s conflicts (”[…] keep your hands off of my stack […] don’t give me that do-goody-good bullshit”) but that's what drives a lot of what’s happening here while acknowledging the seemingly-insurmountable-conflicts raised among the left-behinds, looking for some sense of justice, at least as they individually see it (“Money, it’s a crime Share it fairly, but don’t take a slice of my pie”). If nothing else, "Money" is just a great piece of music to listen to (for the instrumental breaks alone), just as Worth's a great cinematic experience, no matter what the Amy Nicholsons of the world may disavow.
SHORT TAKES
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Thursday September 9, 2021
5:00 PM Modern Times (Charles Chaplin, 1936) As in City Lights, Chaplin defied the industry’s shift to sound, using only synchronized music, sound effects rather than dialogue (shown on intertitle cards) in this last of his “silent” films where The Tramp’s an overwhelmed assembly-line worker in a nation clearly from the Depression; he meets Ellen (Paulette Goddard) who becomes his love interest as they both struggle with the law and the demands of the times. His final Tramp role.
Saturday September 11, 2021
12:30 PM West Side Story (Robert Wise and Jerome Robbins, 1961) One of the best musicals ever, adapted from a successful 1957 Broadway play, itself adapted from Shakespeare’s Romeo and Juliet, the rival families now being rival NYC street gangs as Jets Tony (Richard Beymer) falls for Sharks’ relative Maria (Natalie Wood) but the entrenched rivalries (Whites vs. Puerto Ricans) lead
to tragedy. Huge Oscar winner: Best Picture, Director(s), Supporting Actor (George Chakiris), Supporting Actress (Rita Moreno), Film Editing, Scoring for a Musical, Sound, Art Direction, Cinematography, Costume Design (last 3 all for color films), Honorary Award to Robbins for his marvelous choreography, also highest grosser of ’61 (Pauline Kael hated it; she’s one of the few).
3:15 PM The Producers (Mel Brooks, 1967) First version, later adapted to a successful Broadway musical (spawning another movie). Flimflam artist/stage producer Zero Mostel, nervous accountant Gene Wilder seek riches by getting too many investors for a show doomed to fail, Springtime for Hitler by ex-Nazi Kenneth Mars, starring wacky hippie Dick Shawn. But, it’s seen as satire, becomes a hit. Excellent balance keeps this as hilarious, not repulsive; Oscar for Best Original Screenplay.
5:00 PM To Kill a Mockingbird (Robert Mulligan, 1962) Beloved adaptation of Harper Lee’s Pulitzer Prize-winning novel with Gregory Peck as a fair-minded Alabama attorney in the 1930s trying to provide moral lessons for his kids during this economically-difficult (and overtly-racist) era as well as a sound defense for a Black Man wrongly accused of raping a White girl (also in the cast: Robert Duvall as elusive “Boo” Radley). Oscars for Best Actor (Peck), Adapted Screenplay (Horton Foote), Black and White Art Direction, was nominated for 5 more including Best Picture and Director. The American Film Institute named Atticus Finch (Peck) as greatest movie hero of the entire 20th century.
7:30 PM The Hustler (Robert Rossen, 1961) Paul Newman as a would-be pool shark forced to prove himself against top-notch-player “Minnesota Fats” (Jackie Gleason), some ups but mostly downs along the way to the finish; also stars Piper Laurie, George C. Scott. If you miss this time, also 5:00 PM on Monday, September 13, 2021. (I didn’t get as verbose here, been too long since I’ve seen it.)
11:45 PM The Last Picture Show (Peter Bogdanovich, 1971) Maybe it’s because this film reminds me of my more nostalgic aspects of those many years in Texas, but I think it’s just a marvelous adaptation of Larry McMurtry’s semi-autobiographical novel of growing up in an early 1950s version of the Lone Star State (filmed in Archer City, standing in for fictional Anarene) about interpersonal-interactions among strong characters played by Timothy Bottoms, Jeff Bridges, Ellen Burstyn, Ben Johnson, Cloris Leachman, Cybil Shepherd; Johnson and Leachman won Supporting Acting Oscars.
Tuesday September 14, 2021
8:30 AM Bringing Up Baby (Howard Hawks, 1938) Quintessential screwball comedy: Cary Grant as an easily-befuddled paleontologist on the verge of finishing a Brontosaurus skeleton and marrying a prim woman we know isn’t a right match especially after he meets a cute, flighty heiress (Katharine Hepburn) who gets him in increasingly-embarrassing situations even as romance develops between them. Only movie I can recall featuring 2 leopards. Somewhat remade as What’s Up Doc? (1972).
Thursday September 16, 2021
9:15 AM Key Largo (John Huston, 1948) Here’s another crucial gangster story, more in the film noir realm as exiled gangster Johnny Rocco (Edward G. Robinson, alluding to his earlier Rico role in Little Caesar [1931]) is smuggled back into the country during a Florida hurricane where he and his gang take hotel occupants Humphrey Bogart, Lauren Bacall, Lionel Barrymore hostage. Claire Trevor as Rocco’s desperate-for-a-drink-moll, Gaye Dawn, won the Best Supporting Actress Oscar.
If you’d like your own PDF of the rating/summary of this week's review, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: Here are some extra items you might like: (1) New to Netflix in September 2021; (2) New to Amazon Prime Video in September 2021; (3) New to Hulu in September 2021; (4) New to Disney+ in September 2021; (5) New to HBO/HBO Max in September 2021; and, for irony, (6) AMC Theaters spend $25 million on ads to get patrons back into their venues. As usual for now I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can search streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
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Here’s more information about Worth:
https://www.netflix.com/title/80226212
https://www.youtube.com/watch?v=HMwRH93fXDw (2:23 interview with Michael Keaton) and https://www.youtube.com/watch?v=RQovU7sKPwI (9:06 a brief summary of the film [very odd blurred images from about 2:00 until the end but the narration’s still clear if you’re willing to listen to it while watching abstracted visuals; also an ad interrupts at about 3:30, then the whole thing ends on another ad at about 8:44—I'm not clear on what that long string of "IGNORE" sites listed under the YouTube video screen is all about])
https://www.rottentomatoes.com/m/worth
https://www.metacritic.com/movie/worth
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest,
a never-changing-reality even as the moon waxes and wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never get tired of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
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