If the liberal elite has a bogeyman, he probably looks a bit like Richard Jewell. A 33-year-old wannabe police officer, Jewell lives with his mother in Atlanta Georgia. Obese, not particularly bright, and probably a virgin, his patriotism and respect for law enforcement border on parody. In another timeline, he might have been George Zimmerman, a racist gun nut so carried by a mania for fighting “the bad guys” that he might have killed an innocent kid just for being in the wrong place at the wrong time. On July 27, 1996, Jewell was working as a temporary security guard at Centennial Olympic Park. After hassling a group of teenage boys for underage drinking, he noticed a suspicious backpack someone had left underneath a bench. He saw something, and he said something, immediately alerting the police, and trying to clear as many people away from the area as he could. After a massive pipe bomb exploded, killing one person and severely injuring dozens more, it was immediately clear that the fat, ridiculous mamma’s boy had saved hundreds of lives. Richard Jewell was a legitimate hero.
If Donald Trump gets one thing right, it’s that the corporate media is the enemy of the American people. Listen up deplorables. Stop hating on communism. Under a dictatorship of the proletariat led by me, Stanley Rogouski, Chris Matthews’s worst nightmares would come true. Anybody currently employed by the corporate media, with the exception of maybe Phil Donahue and Amy Goodman, and oh yeah, Raymond Bonner, would immediately be marched out into the middle of Central Park, and guillotined. As Clint Eastwood makes clear, the same corporate media that put the incompetent Rudy Giuliani and the future war criminal George W. Bush up on a pedestal after 9/11, basically lynched Richard Jewell after the Olympic Park bombing in 1996. Initially hailed by the media as the hero he was, Jewell came under investigation by the FBI after his “profile” checked off one too many boxes, and they began to suspect that he had planted the bomb himself. Kathy Scruggs, an Atlanta-Journal Constitution reporter, who’s played by Olivia Wilde as an ambitious, unscrupulous cunt who will do anything for a story, including seducing a lead out of Tom Shaw, an incompetent, pompous FBI special agent played by Madman’s Jon Hamm, “breaks the story” that the Olympic Park Bomber is none other than the Richard Jewell, the strange man currently basking in public adulation and mouthing platitudes like “well no ma’am, no sir, I wasn’t a hero. I was just doing my job.”
If Jewell annoys the ever living hell out of me it’s because Eastwood realizes that most American liberals and leftists like me are not too far removed from deplorables ourselves. Yeah, we may graduate from college and move to New York, San Francisco, LA, Seattle or Boston, but we’ll never really hide the fact that we’re originally “from” dull suburbs in New Jersey or on Long Island, burned out towns in the rust belt, or, God forbid, somewhere in the south. When Jewell, played by Kobra Kai’s Paul Walter Hauser and his mother Barbara, played by Kathy Bates, first realize that he’s not only the prime suspect, but on the cover of every newspaper in America as the new Timothy McVeigh, they act like two deer caught in the headlights. Neither of them have enough cynicism about the corporate media or the federal government to understand what’s happening, that Tom Shaw, who was responsible for the security at Centennial Park, is covering his ass, and that Kathy Scruggs is trying to ride the media lynching of an unsophisticated working class man to fame and fortune. Indeed, as Watson Bryant, Jewell’s lawyer played by the excellent Sam Rockwell, quickly realizes, unless he can somehow break the spell that the American conservative worship of the police has cast over him, Richard Jewell is probably going to the electric chair. “How could Tom Brokaw say that about you,” his mother exclaims in disbelief when she sees the news anchor she had previously gushed over as “too handsome” is demonizing her son on national TV. Jewell himself repeatedly gets into trouble by his still lingering urge to help the police, a weakness Tom Shaw picks up on and plays for everything it’s worth.
It’s probably not entirely accurate to say that Richard Jewell “got lucky.” There was no case, or even the slightest shred of evidence that he had planted the bomb. Similar to the Central Park 5 affair seven years earlier in New York City, where Donald Trump jump started his political career by calling for the execution of 5 innocent black teenagers, the media and the FBI had temporarily gone mad, building a house of cards around an easily demonized child man, and then simply dropping the investigation after they came to their senses. Like the Central Park 5, Richard Jewell never recovered from being tried in the court of public opinion. As Eastwood effectively dramatizes in the film’s penultimate scene, Jewell does overcome his inability to criticize the police, and would eventually bring defamation lawsuits against most of the people responsible for the false accusations, but in 2007 he would die at the age of 44 from complications brought on by diabetes and obesity, and indirectly from the emotional suffering brought on by what had happened in the Summer of 1996. Jewell was in fact, the last casualty of the Olympic Park Bombings, outliving Kathy Scruggs, who died of a drug overdose in 2001 by six years.
Whatever your politics, if you’re like me, a generation or two from being a “deplorable,” a naive, unsophisticated middle-American at heart, the kind of person who will recognize him or herself in Richard and Kathy Jewell, you will love this movie. On the other hand, if you’re a woke intersectional identitarian with an Ivy League degree and a loft in downtown Brooklyn or Tribeca, the kind of person who tacks “bro” onto the ending of any word to make up a new insult, you will utterly loath Richard Jewell, both the man and movie, and pray that Clint Eastwood follow Jewell and Kathy Scruggs to the grave as soon as possible. You will stomp your feet and exclaim “oh boo hoo, one white man gets railroaded by the police and he gets his own movie.” Of course, Eastwood’s portrayal of Kathy Scruggs has, and probably accurately, been accused of being as defamatory as Scrugg’s portrayal of Jewell himself. Worse, unlike Jewell, she’s no longer alive to fight against the damage to her reputation. All I have to say to that is “oh boo hoo. So one corporate hack journalist gets her reputation posthumously destroyed. Cry me a river. Let’s talk about all the innocent people the corporate media destroys every day.”
Richard Jewell is a polarizing movie, and it’s meant to be.
Final Note: In another dig at elite liberals, the real hero of Richard Jewell just might be Nadya, Watson Bryant’s Russian girlfriend, whose as cynical about the police and the media as the Jewells are trusting and naive.