NOTE: This is a reprint of my review from the Sundance Film Festival. True Story opens on April 17th.
They say that history is written by the winners but so too is truth determined by those in power. That's true on a micro and macro scale; journalists have incredible power to present what they believe to be the truth, and whether it's accepted as truth depends largely on how the story is told. The malleability of truth is at the heart of True Story, a film with an unbelievable premise based in fact led by a pair of mismatched stars in an unfamiliar genre. These elements combine to make for an offbeat crime drama that compels right from the start and will have audiences talking.
We're used to seeing James Franco and Jonah Hill on screen together but never in a dramatic film quite like this. Individually they both have made strides to branch out into serious territory but True Story is the darkest material either has worked with. But it starts off like the beginning of a weird mistaken identity comedy. Hill takes charge as successful New York Times reporter Mike Finkel, whose reputation and career is destroyed after he fudges some information for a major story on the child sex trade. Unable to land a job anywhere, Finkel hides out in his Oregon home with his wife (Felicity Jones) and tries to come up with a plan. He gets a lucky break from an unexpected place when wanted murderer Christian Longo (Franco) is captured down in Mexico. How is this good by any means? Longo had spent months identifying himself as Mike Finkel, reporter for the New York Times.
Intrigued, and obviously seeing the chance for a winning scoop, Finkel strikes up an odd little friendship with Longo. Meeting him at the jailhouse, Finkel learns that Longo is a big fan who has been following his work. The adoration makes for a pretty good boost to his ego at a time when it's sorely needed, but Finkel really has his eyes set on a major book deal out of these strange circumstances. There's an interesting power balance that begins to emerge between the two as Finkel agrees to teach Longo how to write in exchange for information on the murders. Longo was accused of murdering his wife and children in rather heinous fashion, and while Finkel is disturbed by that it doesn't stop him from becoming friendly. He may even believe Longo is innocent.
But there's a manipulation at play here that director Rupert Goold and screenwriter David Kajganich tease like tantalizing bait. Both men are using one another to some degree but just how far the deception goes is the great mystery. Each conversation, nearly all in sterile prison walls across from bland tables, has the cold, uninviting feel of one of those "Lockup" documentaries on MSNBC. The cinematography is crisp and understated, much like the performances given by Hill and Franco. Franco's having a strong festival between this and I Am Michael (review here), and he's good here as the slippery Longo. Hill has grown so far past the "rambunctious buddy" role he used to play that seeing him do calculated work like this is expected. Unfortunately for Felicity Jones she's stuck in another "supportive spouse" role and it would be great to see her break free of it. She should take pointers from Hill and Franco on how to break free from the comfort zone.Where True Story falters, ironically, is in the details. Finkel's home life is as poorly developed as his supposedly great journalistic career; and the courtroom finale ends on a cliched note only Law & Order fans could love. Such a gripping web has been spun that to to have the film end on such a note is a disservice.
Rating: 3.5 out of 5
