What does a rabble-rousing, fight-the-power, ripped-from-the-headlines corporate-conspiracy whistleblower drama look like in the Trump era? It looks like Todd Haynes’ “Dark Waters” — wh…
” — which is to say, it looks very dark indeed. And also potent and gripping and necessary. The movie form I’m talking about is one we all know in our bones; you could say, at this point, that we know it a little too well. It was launched in the late ’60s and ’70s, with films like “Z” and “All the President’s Men” and “Norma Rae,” and it continued through the ’80s, with films like “Silkwood,” and the ’90s, with dramas like “The Insider.
In form, though, this is a classically designed, forcefully executed entry in the lone-rebel-battles-the-corporation genre. The film, written by Mario Correa, is based on the 2016Magazine story “The Lawyer Who Became Dupont’s Worst Nightmare,” and the person it’s about was, in fact, a corporate defense attorney — a man whose chief clients were chemical companies. as a doughy straight-arrow in a brushed dork haircut whose job consists of doing what he’s told.
Robert, aghast at what he’s shown, assumes that it must be a case of “innocent” negligence. He agrees to represent Wilbur, which means that his law firm is now going to sue Dupont, one of the firm’s key clients. Yet Robert and the firm, led by the good-ol’-boy smoothie Tom Terp , aren’t out to bite the hand that feeds — and Victor Garber’s canny, now-polite-now-scary performance as Dupont’s chief executive shows you what happens if you do.
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