Review

‘Fifth Estate’ dazzles but can’t quite make up its mind about Assange

McClatchy-Tribune News ServiceOctober 17, 2013 

Benedict Cumberbatch stars as Julian Assange in “The Fifth Estate.”

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  • The Fifth Estate

    B- Cast: Benedict Cumberbatch, Daniel Bruhl, David Thewlis, Carice Van Houten, Laura Linney

    Director: Bill Condon

    Length: 2 hours, 8 minutes

    Rating: R (language and some violence)

    Theaters

    Raleigh: Brier Creek, Grande, North Hills, Wakefield. Apex: Beaver Creek. Cary: Crossroads. Chapel Hill: Timberlyne. Durham: Southpoint. Garner: White Oak. Morrisville: Park Place.

As the world doesn’t seem to have quite made up its mind about Julian Assange, it seems fitting that the new film about him and the rise of WikiLeaks has an ambivalence about it as well.

“The Fifth Estate” takes us inside hackers’ milieu, the personalities and news stories that blew up thanks to WikiLeaks. It visits the very real consequences of Assange’s actions. But it never gets inside the man, what drives him, what justifies the arrogant self-righteousness that he built his worldview upon.

Director Bill (“Kinsey”/“Dreamgirls”) Condon dazzles us with the whirl of Assange’s crusade, following him from Africa to Europe, zipping from one trouble spot, where the release of secret documents might make a difference, to another.

In a breathless two hours, the film lets us see the man through the eyes of a new recruit and close associate. Young Euro-hacker Daniel Berg (Daniel Bruhl of “Rush”) is in awe of Assange, an international man of mystery.

Assange sees conspiracies everywhere and has a sneering contempt for mainstream news organizations (the fourth estate) he figures WikiLeaks displaces. Only nobody is noticing WikiLeaks at the time Berg is recruited. That’s before the Bradley Manning cache of military and U.S. State Dept. communications come to them. That’s before the press conferences, the collaboration with the hated newspaper and magazine journalists, who sort through the raw data that Assange cavalierly and naively believed would be damning by itself, with the professional reporters providing context and some semblance of objectivity and responsibility.

And that’s before people start dying and Berg starts wondering who this wildly secretive weirdo with an obsession for control, privacy and fame really is and how big the infrastructure of the suddenly famous WikiLeaks is, questioning the very notion of a “movement” that isn’t a movement at all.

Bruhl brings a youthful enthusiasm and naivete to Berg, an insider in the hacker world lured by the charisma and convinced of the rightness of their cause, but young enough to change his mind as he receives new information. Laura Linney is terrific as a State Department employee trying to do her work, frantically pulling in secret sources before they’re exposed and murdered in countries that aren’t as tolerant of whistle blowers as the West.

And the aloof, guarded Cumberbatch plays Assange as a mixture of brilliance, hucksterism, ego and naivete. He carries the baggage of an actor who plays “smart” with a menacing edge.

But with every revelation, from his troubled childhood to his skirt-chasing to the hair color and the stories about how it turned white, the hustler shows through and the mystery deepens.

For all the technical sparkle, Condon never quite connects all the dots about Assange and how this “revolution” that he claims he is leading is part of the zeitgeist, the global strain of anarchy that resulted in uprisings in the Middle East, the Occupy Movement, marches in Europe and the tea party in the United States.

That label “anarchist” might be the most loaded when considering the sagas of Manning, Edward Snowden, Assange and even the so-called “Suicide Caucus” in Congress. But it’s also the most damning. People who want to “blow it all up” rarely trouble themselves with what comes after the explosion.

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