Актеры: Al Pacino (as Lowell Bergman), Russell Crowe (as Jeffrey Wigand), Christopher Plummer (as Mike Wallace), Diane Venora (as Liane Wigand), Philip Baker Hall (as Don Hewitt, Senior Producer 60 Minutes), Lindsay Crouse (as Sharon Tiller, Bergman's wife), Debi Mazar (as Debbie De Luca), Stephen Tobolowsky (as Eric Kluster, President CBS News), Colm Feore (as Richard Scruggs, Mississippi Attorney), Bruce McGill (as Ron Motley, Mississippi State D.A.), Gina Gershon (as Helen Caperelli, General Council CBS), Michael Gambon (as Thomas Sandefur, CEO Brown & Williamson), Rip Torn (as John Scanlon, Brown & Williamson Public Relations Advisor), Lynne Thigpen (as Mrs. Williams), Hallie Kate Eisenberg (as Barbara Wigand)
Описание: Динамичная драма поставлена по статье Мари Бреннер "Человек, который знал слишком много" ("Man Who Knew Too Much, The").
Джеффри Уайгэнда (Расселл Кроу) увольняют с поста вице-президента крупнейшей табачной компании за то, что он протестует против использования в табачной продукции компонента, вызывающего у курильщиков наркотическую зависимость. Лоуэлл Бергман (Аль Пачино), продюсер популярнейшего телешоу "60 минут", узнает об этом и убеждает Уайгэнда выступить с разоблачительным интервью по телевидению. Естественно, это очень не нравится столпам табачной индустрии, заверяющих в безвредности производимой продукции. Олигархи принимают самые суровые меры, чтобы информация не стала достоянием гласности. От Уайгэнда уходит жена, Лоуэлла Бергмана отправляют в отпуск. Там, где задействованы большие деньги, бесполезно бороться за справедливость, но Лоуэлл и Уайгэнд не прекращают борьбы.
Великолепная актерская игра Кроу и Пачино. В 2000 году фильм получил 6 номинаций на премию "Оскар": за лучший фильм (Майкл Мэнн, Питер Ян Брюгге), лучшего актера (Расселл Кроу), лучшую операторскую работу (Данте Спинотти), лучшую режиссерскую работу (Майкл Мэнн), лучший монтаж (Уильям Голденберг, Пол Рубелл, Дэвид Розенблум), лучший адаптированный сценарий (Эрик Рот, Майкл Мэнн) и лучший звук. (Иванов М.)
Рецензии: Many times, the resolution to a problematic situation is seemingly as easy as simply knowing right from wrong, and acting upon it. The sub-text of the problem, however, is often more complex; especially when the onerous decision of personal sacrifice is involved. Such is the situation explored in `The Insider,' a powerful drama directed by Michael Mann and starring Al Pacino and Russell Crowe. Based on the true story of Dr. Jeffrey Wigand (Crowe), a former Corporate Vice President of one of the major tobacco companies, it examines his struggle to act in accordance with his own conscience after circumstances put him together with Lowell Bergman (Pacino), a producer for Mike Wallace (Christopher Plummer) and the highly respected television news program, `60 Minutes.' On the surface, Wigand's conundrum seems easily dispelled; as a research scientist involved with matters of health, he has vital information concerning the addictive nature of nicotine and, moreover, the attempt by the company for which he worked to enhance the consumers propensity for it by manipulating the ingredients of their product. Under oath (and televised on C-SPAN), the CEO's of the seven major tobacco corporations testified, to a man, that to their knowledge nicotine was not addictive; but Wigand knows otherwise. And by claiming ignorance of the properties of nicotine, they subverted the truth even more by refuting what Wigand knew to be what they considered their real business: The delivery of nicotine to the consumer. You put a cigarette in your mouth, you light it up, you get your fix. Bottom line, not only do they know exactly what they're doing, they perjured themselves on national television when questioned about it. Wigand's problem, however, is the confidentiality agreement he signed upon termination of his employment; if he talks, he loses the lucrative severance package that includes health benefits for his family. And he has a young daughter with acute asthma. So from his perspective, in knowing the truth about `Big Tobacco,' the question becomes one of morality: How much does he owe, and to whom, considering the personal sacrifices he will make if he does the right thing. Beginning with an intelligent and well developed screenplay (by Mann and Eric Roth, adapted from the magazine article `The Man Who Knew Too Much,' by Marie Brenner), Mann meticulously presents this story of ordinary people under the stress of extraordinary circumstances in a manner that is creatively imaginative and totally engrossing; in short, a flawless delivery of a terrific script and story. The tension begins from the moment we are introduced to Wigand and continues to build throughout the film. There is inspired camera work (at times almost invasive, in a way that puts the viewer `in' the scene), impeccable transitions and pacing, and Mann exacts a number of brilliant performances from his actors, especially Crowe and Pacino. Crowe gives a detailed, Oscar worthy performance (he was nominated) as Wigand, deftly capturing the traits and attitude of this intelligent, complex individual; his volatile temperament and demanding attempt at self restraint, his forthright manner and love for his family, and the toll that coping with the demons that plague his conscience takes upon him. Crowe has a compelling screen presence that commands the viewers attention; his expressive reactions alone convey intelligence, a sense that the `wheels are always turning,' that demands regard. It is quite simply a remarkable character study delivered by an amazingly gifted actor whose approach to characterization is, in many ways, reminiscent of the style of Alec Guinness. Pacino gives a commanding performance as well; the kind of work we've come to expect from one of our greatest actors, who time and again never ceases to amaze with what he can do. As with Crowe, his turn here is firmly planted in reality, and it's that ability to make it so real that gives such emotional impact to the drama. And it should have garnered him a Best Actor nod as well. Other notable performances include Christopher Plummer, who absolutely `becomes' Mike Wallace, affecting a manner of speech and physical traits that are entirely convincing, and Diane Venora, as Wigand's wife, Liane. Also, in smaller-- but highly effective-- roles, are Michael Gambon (Thomas Sandefur) and especially Bruce McGill (Ron Motley), whose work here should have brought him a Best Supporting Actor nomination. In the final analysis, `The Insider' is a film that will keep you enthralled from beginning to end; one that rings of truth beyond reproach and which aptly demonstrates how important it is to have men of principle and integrity among us. This film is an example of cinema at it's best, and one that demands viewing by one and all. I rate this one 10/10.