J. Edgar

As the credits rolled and I left the theater, a nearby viewer loudly exclaimed that he had been fooled, and that he hadn’t taken J. Edgar to be “no love movie.” It was then that I realized that this film is likely to be the most misinterpreted of the year.

Yes, it delves into the homosexual tendencies of Hoover’s life, including his love for right-hand man Clyde Tolson. Yes, sometimes these elements are rendered too obvious by the script. But powered by the directing of Clint Eastwood and the acting of Leonardo DiCaprio, this biopic on the founder of the FBI is a brooding and powerful film.

Despite what trailers show, J. Edgar is a biopic. This comes with a specific mantra in mind, one that Eastwood himself has expressed in interviews: the goal of film is to present a person in his totality without judgment or focus on specific aspects of his life—allowing the audience to determine his character and legacy for themselves. Here, Eastwood does exactly that. Carefully staging scenes and accentuating noirish aspects, Eastwood allows for every screaming monologue or quivering lip to be felt and experienced as powerfully as intended. Now in his twilight years and with decades of experience, Eastwood does not shy away from using subtle artistic techniques.

Despite Eastwood’s talent, DiCaprio is the true jaw-dropper. From the first, we see him in a fat suit—overdone at times—as he wheezes through the line “it’s time this generation learned my side of the story.” But this isn’t DiCaprio anymore; it’s J. Edgar. Complimented by strong performances from Naomi Watts (Hoover’s secretary Helen Gandy) and Armie Hammer (Tolson), DiCaprio is fully armed and turns out a roaring performance worthy of Oscar nods. Essentially, the role of Edgar is that of a man with an unquenchable thirst for power and an unparalleled love for his country, operating on the job with such vicious energy that no one stands in his way. In private, though, Hoover becomes a servant to his heart. Torn between devotion to his religious mother and his homosexual attraction (Hammer), he struggles to maintain the image he projects to the world, knowing that his private life, if revealed, could destroy him.

Ultimately, the strengths of this subtly brilliant project might lend it to misreading or lack of appreciation, at least to the uninitiated. But if you are willing to engage with a film that showcases itself in understated artistic form, then sit back and enjoy.