Leonardo DiCaprio as J Edgar Hoover

Everyone in the audience in Bing Auditorium at LACMA, myself included, was eagerly awaiting the screening of J. Edgar and, of course, the preceding Q&A with the legendary Clint Eastwood and Leonardo DiCaprio, screenwriter Dustin Lance Black, and soon-to-be legendary Armie Hammer (you know, those two tall people from The Social Network). With all this talent, one would expect J. Edgar to be a masterpiece. Unfortunately, it doesn’t stand up to its expectations. But that isn’t to say it isn’t worth the watch. It certainly is a superb film, but I was just expecting more… somehow.

Opening in a manner similar to Dustin Lance Black’s Oscar winning Milk, J. Edgar begins with a man looking at his past. While Hoover dictates his life to a typist, the audience is taken back with his words. This formula equates to a fast-paced, unemotional first act. In one moment, Hoover is a young man working his way up in the Bureau while, in the next, he is nearing death.

The audience, however, doesn’t get to spend much time with either Hoover, and it’s difficult to become attached to him. Of course, this may be the filmmaker’s intent. After all, Hoover was always an extremely private figure. He had no personal life and rarely shared secrets with anyone. His life was his work.

The most powerful aspect of the film is its resonance to today’s culture. In this case, J. Edgar focuses on checks and balances of power. Gaining power during the Red Scare, Hoover stretches the might of his office similar to actions during the scare after 9/11. Hoover, the most powerful man of the 20^th century, is depicted as corrupt and obsessed with his image, blackmailing presidents with secret files and stretching the truth in the creation of his memoir.

Armie Hammer as Clyde Tolson and Leonardo DiCaprio as J. Edgar Hoover

Throughout his life, Hoover attempts to hide is his own sexuality, which is ambiguously (and perfectly) depicted in the film. Did he and Clyde Tolson have a life-long relationship during their building of the FBI? Hard to say, and, admittedly, the filmmakers say so as well. It is a possibility, but, with everything Hoover-related, who knows? While Hoover and Tolson’s relationship is not overtly defined, this uncertainty only enhances the mystery behind Hoover.

The greatest clue to this mystery, however, is Edgar’s mother, Anne (played brilliantly by Dame Judi Dench). Dench has the most poignant line in the film when Hoover admits he doesn’t want anything to do with women. Anne’s response is apparently true as Dustin Lance Black says he found it in one of her diaries, which may mean that Hoover and Tolson were more than just colleagues.

While all the pieces may not be as succinct as they should, one could argue this was an intentional part of the filmmaking process. Maybe the narrative should be off, somehow, because Hoover’s life is just too complex. If you love what I call “Oscar Season” as much as I do, then J. Edgar is a must-see. And if you don’t, then you’re certainly missing out.  J. Edgar hits theaters Wednesday, November 9^th.