Director Clint Eastwood’s “J. Edgar” runs and feels a little long, and is amazing with an awesome performance by Leonardo DiCaprio. He is brilliant. Eastwood once again demonstrates his delicate and powerful touch in this captivating portrait of J. Edgar Hoover, who is shrouded in secrecy and tainted controversy. Hoover (DiCaprio), who was Director of the FBI for nearly 50 years through 6 Presidential Administrations, single-handedly built and distinguished the Bureau into what it is today. Surprisingly, what compels in “J. Edgar” is the underlying tortured love story. In a moving scene DiCaprio as 80-year-old Edgar gently kisses his dearest friend and companion Clyde Tolson (Armie Hammer) on the forehead at the touching narrative arc.
Eastwood and DiCaprio delicately address the controversy surrounding Hoover’s personal life and his lifelong relationship with Tolson, his Deputy Director. Was Hoover gay? He no doubt was a complex man. I think Eastwood and Writer Dustin Lance Black hint that J. Edgar was really a tragic sexless character, say along the lines of Michael Jackson. Particularly in DiCaprio’s powerfully authentic portrayal, whatever impulses J. Edgar may have had for Tolson (Hammer) were suppressed by his dedication and commitment for his job, and perhaps his unforgiving Mother (amazing Judi Dench). The culminating narrative is intriguing. In an early scene, we witness Edgar awkwardly kissing his date, pretty and spirited Naomi Watts as Helen Grady, who would become his secretary. He is sweaty and unnerved when he interviews Tolson (Hammer) for a job at the Federal Bureau. Tolson’s sexual preference seems evident, Hoover’s is clumsy.
In a heartbreaking scene near the end, J. Edgar breaks down confessing to his only secretary Helen (powerful and compassionate Naomi Watts), “Do I kill everything that I love?” Hoover’s career was awesome that of the true patriot, who sadly spiraled into manic control and paranoia, also seemingly falling into amphetamine addiction. Black’s screenplay spans from the McCarthy blacklisting, the gangster era of John Dillinger, the Lindbergh kidnapping which really established the FBI, through Martin Luther King and JFK. For Edgar knowledge was power, and he guarded it accordingly.
Dustin Lance Black is stalwart in his rendering of America in its most dire period in history. However, I think he fails in the catharsis of Hoover. Ultimately, it is about what we are left with. In a way that is a shame given the powerful performances by DiCaprio and Hammer, both deserve nominations for Lead and Supporting Actor. Through Hammer’s compassionate gravitas, we get that Toslon loved J. Edgar. I also get like Black; no one really knows the real intimacy of their relationship and friendship. Eastwood demonstrates brilliant restraint as he addresses the possible Hoover transvestite rumors in a stark compelling scene. Judi Dench is profoundly dominating as Edgar’s Mother, who professes that she would rather have a dead son than have a “daffodil for a son”. The tragedy adds up. DiCaprio is electrifying and powerful as Edgar. He displays the authentic nobility and tragic torment of a man married to his job and cause, sacrificing all for it.
“J. Edgar” is most compelling in its sad tortured love story of Edgar and Clyde. DiCaprio brilliantly captures one of Hoover’s tragic flaws—he valued loyalty utmost, above even love. And even his devout dedication would never overcome that. I think the final catharsis and what we are left with is ultimately missing in Black’s story.
Regardless, Eastwood, DiCaprio and Hammer paint a touching portrait of humanity in “J. Edgar” which brilliantly displays the courage of his accomplishments and the profound sadness of his life.
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Photo credit: Shutterstock, modified
