Great Scene: “Michael Clayton”
October is Great Scene month at Go Into The Story whereby we put a spotlight on notable movie scenes, then analyze and discuss them. Their structure, themes, character dynamics. Why do they work? What are their narrative elements that elevate them to greatness? Let’s face it: In a fundamental way, screenwriting is scene-writing, so the more we learn about this aspect of the craft, the better.
Today’s suggestion by Rahul Prasad: The 2007 movie Michael Clayton, written and directed by Tony Gilroy. IMDB plot summary:
A law firm brings in its “fixer” to remedy the situation after a lawyer has a breakdown while representing a chemical company that he knows is guilty in a multi-billion dollar class action suit.
It’s actually two scenes, but as continuous action, they play as one. In the first part, Clayton (George Clooney) confronts Karen Crowder (Tilda Swinton) about information he has gathered related to the legal case and Crowder’s role in the death of Clayton’s longtime friend and associate Arthur Edens (Tom Wilkinson):
And then this:
This is a brilliant movie capped off by a powerful ending. The first part is almost all dialogue, the confrontation between Clayton and Crowder. The second part is almost zero dialogue, just a locked shot onto Clayton’s face as the cab drives and drives while credits roll. In Clayton’s face, we see the array of emotions roiling inside, perhaps most clearly a sense of sadness because even though he has succeeded in the eventual takedown of the chemical company, nothing will bring back his friend Edens… and nothing will allow Clayton the chance to relive his life while making different choices. He is a fixer who is broken.
As I watched the scene again, I was struck by two callbacks, one visual, one a line of dialogue. The visual is this:
Crowder: This would have to be a longer conversation and it would have to take place somewhere else.
Clayton: Where? My car?
Which, of course, brings to mind this moment:
The other is this:
Crowder: You don’t want the money?
Clayton: Keep the money. You’ll need it.
Don Jefferies: Is this fellow bothering you?
Clayton: Am I bothering you?
Don Jefferies: Karen, I’ve got a board waiting in there. What the hell’s going on? Who are you?
Clayton: I’m Shiva, the God of death.
Which recalls a line from Edens at the very end of this scene:
“I am Shiva, the God of death.”
In recalling Edens’ line to Crowder and Jefferies, Clayton provides an ironic button to the whole sordid affair, but also this: An attempt at redemption. To inflict the justice Edens wanted upon the immoral Powers That Be. But as we can see in the second part of scene, at most for Clayton it’s a pyrrhic victory.
How about you? What’s your take on the last scene from Michael Clayton?
To read all of the entries in the Great Scene archive, go here.
Thanks for the suggestion, Rahul! If you have an idea for this Great Scene series, check out the responses people have made so far here. If you have a different scene in mind you think would be worthy of analysis, please post it there or in comments for this post. Thanks!
[Originally posted October 6, 2014]