Gore Vidal once said, ‘Half of the American people have never read a newspaper. Half never voted for President. One hopes it is the same half.’
As illustrated by Gore Vidal, journalism and politics have shared a tumultuous relationship since the beginning of time; a complex coexistence that State of Play explores to the fullest through examining questions of objectivity, loyalty and journalistic integrity and responsibility.
Based on a 2003 BBC miniseries of the same name, State of Play focuses on the efforts of Washington Globe reporters Cal McAffrey (Russell Crowe) and Della Frye (Rachel McAdams) to unravel the mystery of murdered political aide Sonia Baker (Maria Thayer).
McAffrey has a personal investment in the story, as Baker was the aide of his Congressman friend Stephen Collins (Ben Affleck), who was also having an affair with the young woman. The deeper the investigation goes, the more McAffrey’s loyalties are tested as he attempts to protect his friend despite the journalistic frenzy aiming to destroy him.
State of Play features a dense plot that walks a fine line between intelligently layered and overly convoluted. There are times at which the film takes tremendous logical leaps, with various contrivances put in place just to get from point A to point B, but the overall realism of the story sells its sometimes implausible nature.
Almost as compelling as the main storyline is the underlying subplot exploring the changing face of journalism. This is illustrated through the different reporting styles of McAffrey and Frye.
A seasoned veteran, McAffrey knows his city like the back of his hand, has connections and sources everywhere and feels a responsibility to the truth in his reporting. Frye on the other hand, is an up-and-coming blogger who is new on the scene and has little real experience aside from an online opinion column.
Despite McAffrey’s obvious superiority in the field, he works on a 14-year-old computer, drives a 19-year-old car and is seen as a relic from a different era. In contrast, Frye gets double the pay and publicity and enjoys all the best technology at her disposal; as print media gives way to the more cost-efficient digital age, she is the face of the future.’
Their partnership helps both characters grow throughout the course of the film – Frye in particular – as she is exposed to the gritty world of hard-nosed journalism and forced to deal with the harsh realities therein. McAdams sells this to a tee and is one of the standout performances of the film.
As for the rest of the cast, Crowe is brilliant as always with the rugged intensity that has become a staple in all his roles. But of the two leads, it is Affleck who really shines. While he is often criticized for his limited range, Affleck delivers a strong performance, which may signal his reemergence as an A-list star after the debacle that was 2003’s Gigli.
The supporting cast is equally impressive, with Helen Mirren, Robin Wright Penn, Jason Bateman and Jeff Daniels all turning in quality performances, creating memorable characters with limited screen time.
After a slew of lackluster political thrillers such as Lions for Lambs and Body of Lies, State of Play does not disappoint. An engaging, entertaining drama, and most importantly, it makes you think.
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