TIFF 2013: The Fifth Estate (2013)
Although it deserved stronger direction and a more structurally sound script. “The Fifth Estate” is lifted above mediocrity thanks to sublime performances from its entire cast and truly captivating, at times unsettling source material. This Bill Condon thriller, despite all the hype and speculation, has fizzled amongst the high-profile Oscar contenders at this years TIFF. Which really shouldn’t come as a surprise when you consider the plethora of high-quality films in the race this year. That being said, it is this very unfortunate circumstance that puts “The Fifth Estate” on the receiving end of some seriously negative and potentially irrefutably damaging, undeserved cynical criticism. Thankfully, the essence of film is to forge an opinion of one’s own. Mine is here to tell you not to believe in the bad-mouthing and reputation smashing being directed at “The Fifth Estate.” While definitely not a sure-shot when it comes to award season, it certainly isn’t as abhorrent as critics are making it seem.
To expand, it’s extremely difficult to go into a screening without any preconceived notions. And as hard as you may try to weed out bias and judgement, whether it be positive or negative, inevitably some influence will sink in. This undeniable logic swirled around my mind throughout “The Fifth Estate” as I tussled with my masculine infatuation and deep admiration for the film’s star Benedict Cumberbatch. I tried, valiantly I might add, to focus on the film and details surrounding him and to distance myself from the other interpretations of the film. While I was able to fight off the majority of my weakness, Cumberbatch’s seemingly immaculate prowess and pure devotion, amongst the film’s other infaliable qualities were just too alluring and impressive to ignore. That being said, I succeeded in forging my own opinion. The film isn’t without faults, and it just so happens that Cumberbatch is arguably the only Oscar contender to emerge from this specific film, slim chances for the outstanding Daniel Bruhl. However, we don’t simply condemn films that don’t garner nominations, so by no means avoid this flick.
For those who don’t know. “The Fifth Estate” is the story of how the news-leaking website Wikileaks came to existence. Created by Julian Assange (Cumberbatch) with the help of Daniel Domsheit-Berg (Bruhl).
There are more than a few bright spots throughout the film that don’t revolve around the performances, just to insure my words don’t mislead you. Director Bill Condon occasionally spurts the innovation and brilliance that solidified his high status and previous flicks like “Gods and Monsters,” managing to sporadically encompass the sheer immensity of the film and find the core of its true story. However, Condon consistently struggles to make the transitional aspect of his vision smooth, resulting in a bumpy, divided entity. The film rises and dips far too often to ignore and the highs aren’t nearly impressive enough to discard the lows. I’m sure that the “The Fifth Estate” appeared much more alluring on paper and it’s a pity that the structure and story didn’t translate to the big screen. Regardless, the source material remains as hypnotic, honest, and horrid as ever, toss in some terrific, astonishing performances and “The Fifth Estate” is strong enough to overcome its faults.
Perhaps what ultimately led to the high-standard and unreal expectations of “The Fifth Estate,” aside from the trailer and Cumberbatch’s remarkable portrayal and resemblance to Julian Assange, is the astounding success of David Fincher’s “The Social Network.” The two films share more than a few similarities which can be easily spotted while watching the film. Additionally, the film is no where near as symbolic or deceptive. Everything is laid out, flat on the table. “The Fifth Estate” comes off a bit to modernized and contrived. As if Condon and crew modelled the film after Fincher’s Facebook masterpiece, with good reason. I mean, if you could capture some of “The Social Network’s” Oscar winning astuteness, why wouldn’t you? There’s nothing wrong with being inspired and influenced, but masquerading these mind-sets and commonalities with cheap ploys and abstract techniques didn’t pay off for Condon.
Even though “The Fifth Estate” is stifled mightily by skeletal simplicity and seemingly forced direction. The film’s performances burst forth from the screen and are the only thing standing in the way of this flick from being thrown into an incinerator. The film stars the preposterously immaculate Benedict Cumberbatch, Daniel Bruhl, who is absolutely sky-rocketing to stardom, David Thewlis who continues to thrive despite being underused, and a plethora of high-profile supporting talent that features Laura Linney, Stanley Tucci, and Anthony Mackie.
Off the top of my head, there is no one who impressed me more than Daniel Bruhl (I’ve simply come to expect perfection from Cumberbatch). After launching his career into orbit with Quentin Tarantino’s “Inglorious Basterds,” it’s been nothing but full-throttle ahead for Bruhl, who has two films premiering at this year’s festival. Bruhl does everything in his power to upstage Cumberbatch and salvage this film from its free-fall. I don’t think I can issue much higher praise than declaring his performance just under that of Cumberbatch’s. Speaking of Benedict, his portrayal of Assange is nothing short of spectacular. His mannerisms, voice, hair, literally everything about Assange is captured perfectly. There’s really nothing else to say. Cumberbatch’s performance alone is enough to make “The Fifth Estate” recommended viewing.
“The Fifth Estate” is fortunate enough to have its spellbinding cast come to the rescue. Other than its performances, which I highly insist you check out, and its source material, there isn’t anything here you haven’t been previously exposed to. This being said, do not take my rough dissection as hatred, I rather enjoyed this flick…even if I am a tad bias.
The FIfth Estate: 7.5 out of 10.