Review: Erin Brockovich (2000)

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Erin Brockovich

Rating

Director

Steven Soderbergh

Screenplay

Susannah Grant

Length

2h 11m

Starring

Julia Roberts, David Brisbin, Dawn Didawick, Albert Finney, Valente Rodriguez, Conchata Ferrell

MPAA Rating

Review

The legal drama has become common American cinema. “Erin Brockovich” follows the formula of many profitable courtroom dramas, yet feels comfortably entertaining.

Julia Roberts plays Erin Brockovich, a young, single mother, who seeks employment with an uninterested criminal attorney named Ed Masry (Albert Finney). She takes it upon herself to research a simple real estate matter involving medical documents. Through her research, she discovers a case of buried reports and groundwater contamination. She rallies the small Californian town afflicted with cancer through the contaminants and attempts to bring down a large utility company while neglecting her home life.

Roberts is in top form as the brassy Brockovich. She recalls her earlier work in her Oscar-nominated turns in “Steel Magnolias” and “Pretty Woman.” Erin has similar depth as her characters in those films, but with far more responsibilities and problems. She neglects her children without realizing or wanting to do so. She virtually ignores the one person in her life that could be good for her, George (Aaron Heckart), the Harley freak living next door.

Finney takes his time with his performance as the crotchety old lawyer, allowing his character to develop slowly alongside Roberts’ powerhouse, while managing to stand firmly on his own. Heckart, virtually unrecognizable after his critically acclaimed performance in “In the Company of Men,” bends a potentially one-dimensional character into a three-dimensional one with far less screen time than Roberts or Finney.

Even more impressive is TV’s “China Beach” veteran Marg Helgenberger in a small role as a cancer-stricken mother who steps up to fight a powerful corporation. The performances blend well, bringing us firmly into everyone’s lives, an integral part of good storytelling. Susannah Grant’s screenplay gives the actors plenty to do while allowing the director a chance to remain invisible.

There’s always going to be large companies that try to cover up mistakes made while cutting corners, but it’s good to know there will always be someone willing to fight them. “Erin Brockovich” and films like it point out injustice and keep a fresh light on corporate cover-ups. It’s good to see studios and the general public can still find enjoyment in these films. They may not be masterpieces, but their goal is simple and noble: show the truth or be lulled into a false sense of security.

“Erin Brockovich” has writing problems, but its strength lies in the ability to persuade audiences into seeing a new side to the world. We may think we understand how things work, but sometimes we find we’ve been lied to. If we didn’t have films like this to expose the lies to the public, who relies on the media for information, we risk ignorance that can sway our lives into complacency.

Awards Prospects

This film could be the only Spring film to make it to Oscar 2000. Picture, Roberts for Actress, Finney for Supporting Actress and Screenplay are all potentials, but it’s too early to tell.