“She Said” (2022) is a film adaptation of reporters’ Jodi Kantor and Megan Twohey’s book with the same title, which expanded on their New York Times’ investigation of Harvey Weinstein. It starts in Ireland during 1992 and ends with the publication of the story. The film depicts Kantor (Zoe Kazan) and Twohey (Carey Mulligan) before they team up to work on the Weinstein story, shows how they worked together as a team then shifts to their superiors’ process getting Weinstein’s response so could publish the story. It also has moments where it follows the survivors who spoke up against Weinstein in flashbacks and in the present.
I have a policy of not seeing a movie that I lived through, but I made an exception for “She Said” and saw it in theaters because I heard the buzz that there was none. Also I was working with some amazing people to decide which movies should appear on the Top 20 list. Otherwise it was the equivalent of eating vegetables. It is a movie that theoretically we should want to see because it is meaningful, but not a movie that you necessarily want to see. While this film did not make the list, I enjoyed it more than I expected and realized that I knew less about the real events than I thought.
“She Said” promoted itself by explicitly referencing “All the President’s Men” (1976) so I watched the film using that lens, but you do not have to see the film about Woodward and Bernstein’s investigation of the Watergate break-in to enjoy this movie. If you have seen both, consider this iteration a gender bending reprise. Both films are less about a comprehensive retelling of the actual crime and its surrounding events and can be hard to follow if you are unfamiliar with basic facts about the scandals. They are both movies about journalism, the serious version of a “let’s put on a show” genre where we get to see how the sausage is made. It is also a pretty piece of positive propaganda to restore faith in the ethics of journalism and the hoops that they must go through before they can print anything. Just visiting the IMDb page is enough to know that the film oversimplifies how long it took for the story to gain traction within The New York Times allegedly because of Weinstein’s influence. To be fair, I have not read the original book though I may so it may cover that issue, but if it did not, it would be fair because it is not a part of Kantor and Twohey’s first-hand experience.
“She Said” departs from “All the President’s Men” model in crucial ways. While both films start with the event that initiates the investigation, director Maria Schrader frames it as a distinct betrayal because an innocent gets lured in by the wonder of movie magic, which makes her an audience surrogate. Schrader is galvanizing our outrage since we too came to the movies to be amazed, not exploited. While Woodward and Bernstein were an odd couple with varying levels of experience, the story offers Kantor and Twohey’s credentials by showing them work difficult stories that do not seem worth the risk, but eventually time vindicates their hard work. Kantor gets vindication with uncovering Bill O’Reilly’s sexual harassment and Kantor with braving President’s threatening followers during pregnancy. When the more experienced Twohey offers to help Kantor, Kazan makes a muted exhalation of relief to get expert help. It is a nice blink and miss it moment.
Like Woodward and Bernstein, Kantor and Twohey are devoted to their work, but unlike films from the seventies which only depicted such figures as all business and never diverting focus from work, “She Said” gives glimpses of their personal life and how their work affects their personal lives and vice versa. The husbands are deliberately represented as primarily supportive partners and caretakers though they too have careers. It is a deliberate reversal of gender roles, which is sorely needed in movies. I was excited to see one of my faves, Iron Fist’s Tom Pelphrey as Twohey’s husband, Vadim Rutman. This difference shows the impact of their work when Kantor’s daughter asks her about it. It is an unexpected sucker punch to realize that an AFAB child is already concerned about rape. Because of gender, there is an implicit fear that their work will put them in danger. While both movies are fast paced, this film is much calmer and soothing instead of the frenetic, hurly-burly newsroom at the Post.
It is almost as if “She Said” did not want to be considered too emotional and restricted to crying. It is the NPR of films with hushed voices. I have not seen “Promising Young Woman” (2020) yet, but Mulligan gets to briefly display her rage in during a business lunch. It is the only moment of emotional catharsis. Samantha Morton seethes as Zelda, a witness to Weinstein’s wrongdoing who is willing to cooperate. The film also utilizes one whistleblowing man’s outrage to verbalize anger against Weinstein. Kantor leverages her cultural and religious legacy as a Jewish person to create a sense of moral duty to speak up against Weinstein. She and the whistleblower share the responsibility as descendants of Holocaust survivors to stand against evil. Never again takes a different meaning in different times, and fighting against sexual harassment becomes a duty to listen to one’s conscience above all else.
“She Said” beats its predecessor with production values. Manhattan is a more camera-friendly city than Washington DC. The film had permission to film in the recently renovated Times’ offices, and they are gorgeous. The mix of reality and recreated events is seamless. It uses actual audio of Weinstein assaulting a woman, films the Peninsula’s halls where Weinstein committed many of his crimes and uses photos of Gwyneth Paltrow, who makes a vocal appearance, and Rose McGowan. Ashley Judd steals the show by being willing to play herself on screen, jogging with determination and gets a great line, “I have to as a woman and a Christian.” Yes, not a part of the 53%! It also is more international because the survivors are on different coasts and in different countries.
“She Said” is also more respectful in showing the survivors’ perspective and how the investigation disrupted their lives. Unlike Woodward and Bernstein, Kantor and Twohey are conscience stricken and aware of the effect that they have on their subjects. They are not fast talkers willing to bulldoze to get a story. When these witnesses take center stage, the film becomes attentive and mournful. The flashbacks compare the survivors’ somber demeanor with their contemporaries’ carefree joy and expressiveness.
“She Said” has some moments of humor at Weinstein’s expense. One defender gets startled after Twohey delivers news of a scoop. Weinstein keeps asking about whether
Paltrow is involved, and it becomes a long-running joke about his insecurity. The delay tactics are obvious and desperate.
Even though I never wanted to own “She Said,” since renting and buying were not a huge price difference, I bought it and enjoyed watching it the second time around. If you are interested in the subject matter or are a fan of the cast, give it a shot.
Side note: I too hate wasting my time talking to a bunch of lawyers on behalf of one client and advise against it. One point person should be in charge to talk to the outside and let the chaos be invisible.
