A viable, vibrant fly on-the-wall documentary finds a print media stalwart having to adapt to an instantaneous new future of producing and receiving news.
Page One: Inside The New York Times is deftly directed by Andrew Rossi and Kate Novack and trenchantly underlines the aspect of incisive hard-line fact-based journalism being left in the dust by major change.
The Internet has become the consumer's primary news source with many print outlets losing solvency nationwide, so arguably the United States's most influential newspaper has had its operations shaken up over the past two years or so. Of course it has coincided with a huge, long-lasting economic downturn with crises from Wall Street to the automobile industry, along with credit and mortgages (as foreclosures in limbo with people living in their homes for long periods getting more and more exposure).
The talking heads include editors, publishers and media analysts as the filmmakers provide access into the "daily miracle" of a valuable news organization for year. Page One is a candid, up-close look at collaborations and heated cross-cubical discussions. The jockeying for quoting on-the-record and clever pitching for the front page is interesting to watch as the operations of the Media Desk are opened up for the first time. Registering for news on-line should be equal and free for all is key within the context of vying media industries.
Tart-mouthed, opinionated and sly media columnist David Carr comes across a celebrity here, bring up the Times's criticism and where print news is headed, along with writers like Tim Arango and Brian Stelter as the "Gray Lady" tries to stay formidable and prestigious (even after scandals like Jayson Blair).
The early challenges of the 21st century include an international nonprofit organization like "Wikileaks" which publishes classified, private and secret information from anonymous new sources as more layoffs lurk on the horizon. More platforms are colliding with old rigorous print tenacity on the SmartPhone, slick new iPads to the social formats of Facebook and, more concisely, Twitter.
A passionate, elucidative account of varying, difficult situations and turmoil facing driven journalists like Carr makes for interpretative, robust cinema verity that might prove a little more disturbing to lovers and haters of a media giant trying hard to maintain its economic footing.
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