Good Night, and Good Luck.
The story of journalist Edward R. Murrow's stand against Senator Joseph McCarthy's anti-communist witch-hunts in the early 1950s.
Despite its modest budget of $7.0M, Good Night, and Good Luck. became a massive hit, earning $54.6M worldwide—a remarkable 680% return. The film's unconventional structure engaged audiences, demonstrating that strong storytelling can transcend budget limitations.
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Good Night, and Good Luck. (2005) showcases precise dramatic framework, characteristic of George Clooney's storytelling approach. This structural analysis examines how the film's 13-point plot structure maps to proven narrative frameworks across 1 hour and 32 minutes. With an Arcplot score of 7.1, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Murrow at 1958 speech, reflecting on television's potential and failure. Framing device establishes his world-weary perspective on the industry he helped build.. Structural examination shows that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 11 minutes when The team learns about Milo Radulovich, an Air Force officer being discharged due to his family's alleged Communist sympathies, without seeing the evidence against him. This injustice demands a response.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The Collapse moment at 68 minutes (74% through) represents the emotional nadir. Here, Don Hollenbeck commits suicide, unable to withstand the relentless attacks. A literal death - the "whiff of death" moment. The human cost of fighting McCarthyism becomes tragically real. Murrow confronts his own mortality and the price of this battle., indicates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 74 minutes initiates the final act resolution at 80% of the runtime. Murrow accepts the reality: they've won the battle (McCarthy will be censured) but are losing the war (television choosing entertainment over substance). Synthesis of idealism with hard truth. He understands what television will become., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Good Night, and Good Luck.'s emotional architecture traces a deliberate progression across 13 carefully calibrated beats.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping Good Night, and Good Luck. against these established plot points, we can identify how George Clooney utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Good Night, and Good Luck. within the drama genre.
George Clooney's Structural Approach
Among the 7 George Clooney films analyzed on Arcplot, the average structural score is 6.9, demonstrating varied approaches to story architecture. Good Night, and Good Luck. represents one of the director's most structurally precise works. For comparative analysis, explore the complete George Clooney filmography.
Comparative Analysis
Additional drama films include Eye for an Eye, South Pacific and Kiss of the Spider Woman. For more George Clooney analyses, see The Monuments Men, Leatherheads and Confessions of a Dangerous Mind.
Plot Points by Act
Act I
SetupStatus Quo
Murrow at 1958 speech, reflecting on television's potential and failure. Framing device establishes his world-weary perspective on the industry he helped build.
Theme
In flashback to 1953, a colleague discusses the responsibility of journalists to inform the public, not merely entertain. "We have a responsibility to use this medium for more than just distraction."
Worldbuilding
CBS newsroom 1953: establishment of the See It Now team, their camaraderie, the mechanics of live television journalism, and the climate of fear created by McCarthyism. Introduction of key players: Murrow, Friendly, the Hollenbeck subplot.
Disruption
The team learns about Milo Radulovich, an Air Force officer being discharged due to his family's alleged Communist sympathies, without seeing the evidence against him. This injustice demands a response.
Resistance
Debate about covering Radulovich story. Paley and network executives express concern about antagonizing McCarthy. Murrow and Friendly weigh risks: sponsors, jobs, political backlash. Preparation and research for the broadcast.
Act II
ConfrontationMirror World
Don Hollenbeck subplot deepens - a fellow journalist being destroyed by McCarthy-style attacks in the press. His persecution mirrors what could happen to Murrow, embodying the personal cost of truth-telling.
Premise
The "fun and games" of journalistic combat: producing hard-hitting broadcasts, McCarthy's response, the Radulovich vindication, escalating to direct confrontation with McCarthy. The promise of righteous journalism versus political power.
Opposition
McCarthy counterattacks, demanding airtime. Network pressure intensifies. Sponsors grow nervous. Alcoa pulls out. The team's personal lives strain. Paley becomes increasingly distant. The cost of the fight becomes clear.
Collapse
Don Hollenbeck commits suicide, unable to withstand the relentless attacks. A literal death - the "whiff of death" moment. The human cost of fighting McCarthyism becomes tragically real. Murrow confronts his own mortality and the price of this battle.
Crisis
Dark night: Murrow and team process Hollenbeck's death. Questioning whether the fight is worth it. Paley informs Murrow that See It Now will be reduced, moved to a worse time slot. The idealistic vision of television journalism is dying.
Act III
ResolutionSecond Threshold
Murrow accepts the reality: they've won the battle (McCarthy will be censured) but are losing the war (television choosing entertainment over substance). Synthesis of idealism with hard truth. He understands what television will become.
Synthesis
Resolution of McCarthy story - Senate censure. Final broadcasts. Murrow's acceptance of the Pyrrhic victory. The team continues their work knowing the golden age is ending. Preparation for Murrow's prophetic speech about television's future.
Transformation
Return to 1958 speech framing device. Murrow, older and wearier, delivers his warning about television wasting its potential. Transformation: from hopeful journalist to prophetic critic. His fears about the medium have been realized.