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Journalism
is a serious business, according to Shattered
Glass. Directed by Billy Ray, the film
is a biopic of Stephen Glass (played by Hayden Christensen),
an associate editor of The New Republic until
1998, when he was found to be fabricating stories. The
film operates at four levels. One level consists of a
few voiceovers, in which Glass tries to present his own
point of view. The second level is a lecture about magazine
journalism that he presents to a high school journalism
class at his alma mater, Highland Park High School, a
Detroit suburb. The third level is a chronology of Glass's
tenure on The New Republic. The fourth level
consists of titles at the end of the film that update
filmviewers on the current status of some of the major
figures in the film. The most informative part of the
film is a description, step by step, of how an idea for
a story moves through a process of fact checking, writing,
rewriting, scrutiny by a lawyer, as well as a presentation
to a staff meeting, where the median age of fifteen writers
is twenty-six; Glass is booted out at age twenty-four.
In addition, filmviewers see that there are several hierarchical
levels--an apprentice writer, an associate editor, the
senior editor, and the publisher Martin Peretz. (The
latter, played by Ted Kotcheff, is portrayed as more
interested in commas than in content.) How was Glass
able to pull the wool over the eyes of so many over a
period of two or more years? The answer is that Glass
ingratiated himself into the good graces of everyone
in the staff and mesmerized everyone at staff meetings
by dramatizing phony stories that relied on facts which
could not be rechecked because they were backed up by
manufactured interview notes. The first article that
arouses suspicion occurs in 1997, when Glass claims that
delegates were getting plastered during a convention
of conservative Republicans, drinking from small bottles
of alcohol found in the minibar of a hotel suite, whereas
the hotel has no minibars. Glass slides out of the false
story by saying that he saw the kinds of small bottles
found in minibars, so the occupants of the suite must
have rented the small refrigerator from the hotel. The
senior editor, Mike Kelly (played by Hank Azaria), verifies
that the hotel does indeed rent small refrigerators,
but he cannot recheck any other fact, so Glass is off
the hook. In 1998, however, his fabrications about a
supposed convention of computer hackers are spotted by
Adam Penenberg (played by Steve Zahn) by the Forbes online
news service.
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The
senior editor of The New Republic that year, Chuck
Lane (played by Peter Sarsgaard), confronts Glass about
persons identified in the story who do not answer telephone
calls and places where events supposedly occurred that
turn out to be nonexistent. Lane then fires him when he
surmises that Glass is using his brother's telephone number
to back up his lies. When Lane asks other associate editors
to recheck facts in other stories, they agree that Glass
deservedly was fired for making up 27 of the 41 articles
that he penned. Next, The New Republic prints
an apology to its readers, and presumably magazine journalism
gets back to the serious business of informing the public.
But there is a more important subtext to the message in
the film, one missed by the superficial journalism of most
film critics for the same reason. Glass delights his colleagues
with trivial, gossipy stories with little policy relevance,
and one offhand remark by another character early in the
film is that Time increasingly is printing stories
that might fit in People magazine. In short, Shattered
Glass tells filmviewers that the content
of magazine journalism is being dumbed down, partly because
of the need to increase readers but mostly because the
writers are too young to have enough experience and knowledge
to write about real issues in a complex world. College
courses in English and journalism evidently fail to provide
the sagacity to undertake serious policy analysis. Lauded
in the film as the inflight magazine of Air Force One,
the reputation of The New Republic may have been
damaged by a few phony stories, but the real apology to
the readers should be that the American press has stopped
playing the vital role of checking the government. Meanwhile,
officeholders are following suit by promoting their own
fabricated balderdash so that they can sacrifice the lives
of real people, not only by tolerating millions of persons
without health care insurance but also by committing thousands
of troops to questionable military adventures. In short,
politicians keep lying so long as the press is only interested
in increased sales, and democracy is on the critical list.
Accordingly, the Political Film Society has nominated Shattered
Glass as best film raising consciousness
about the need for more democracy and best film exposé of
2003. MH
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