![]() And with “The Monuments Men,” Clooney seems to be aiming for something faintly Hawksian again, casting himself in the role of Frank Stokes, the Fogg Museum art historian who conceives of the Monuments, Fine Arts and Archives (MFAA) program and ultimately finds himself running it. In between “Good Night” and “Ides,” Clooney made “Leatherheads,” a stab at ’30s screwball comedy that was reliably a half-beat off from Howard Hawks’ rhythms. In short, if Clooney started out as Soderbergh, somewhere along the way he seems to have turned into ’80s-era Norman Jewison. But “The Ides of March” and now “The Monuments Men” are likes movies made by someone else: dutiful, establishment prestige pictures with “big” ideas communicated in thuddingly literal fashion. Though wildly divergent in tone, both those movies were inventive biopics set against the backdrop of live television production - a world Clooney grew up in - and “Confessions” in particular seemed informed stylistically by the fast pace and self-reflexivity of live TV. ![]() ![]() When Clooney started out as a director, it was clear he’d learned a great deal about technique from his many collaborations with Steven Soderbergh, and his first two features, “Confessions of a Dangerous Mind” (2002) and “Good Night, and Good Luck” (2005), were compelling evidence that the pupil might be as good as the master. ![]()
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