REVIEW: Erin Brockovich [2000]

Rating: R | Runtime: 131 minutes
Release Date: March 17th, 2000 (USA)
Studio: Universal Pictures
Director(s): Steven Soderbergh
Writer(s): Susannah Grant

They’re called boobs, Ed.

It’s one of those stories to show no matter how bad things are when you’re flat broke, single, raising three kids, and unemployed, sometimes having a high-paying job makes it so your personal life is even worse. Erin Brockovich is a fascinating case study on how a tenacious attitude, street smarts, and an ability to talk to people as though you’ve known them your whole life—with a not so subtle flash of cleavage—can allow you do accomplish pretty much anything you want.

Already down on her luck, the bottom drops even further when an ER doctor runs through Brockovich’s car at an intersection where she had the right of way. A profanity-laced retort to the prosecuting lawyer later and she’s seventeen grand in debt and right back where she was before tragedy struck. With nowhere else to turn, she forces herself into a job as a clerk for the defense attorney who failed her. She said she was a fast learner and willing to do the work, but I’m not sure anyone thought she’d construct a multi-million dollar case with over six hundred plaintiffs and a huge utility company to foot the bill.

The principals involved in bringing this true story to screen are not initially seen as the perfect choices. Director Steven Soderbergh had been known for his mix of personal oddities and slightly off the beaten path indie crossovers. But then came 2000 and his life would be forever changed. That’s when Hollywood decided to also take notice of this darling of cinephiles the world over. His inventively constructed, interwoven triptych Traffic garnered praise from all directions and was eventually nominated for Oscars’ Best Picture while winning Editing, Supporting Actor, Screenplay, and Director. But it wasn’t alone.

Despite being known for his prolific work schedule, who knew he’d end up with two films competing against each other in the same year? Probably his most straightforward film, Erin Brockovich just plain gets the job done. It takes an intriguing true-life court case and injects some vigor and emotion to have it open the world’s eyes to a high caliber underdog who’s unafraid to do what’s necessary for justice. Nominated for Best Picture, Supporting Actor, Director and Screenplay, it also won Best Actress.

I’m not going to lie. If I had a vote back in 2001, Ellen Burstyn would have received it. That said, I cannot deny the power Julia Roberts brings to her portrayal of this singular woman. I’ve said it before and I’ll say it again, Roberts is unstoppable when given an edge of attitude and confidence. The wardrobe is memorable (all those short skirts and low cut tops bringing her ‘assets’ to the forefront) and its juxtaposition with her ability to verbally dress down someone who dismisses her as white trash is an apt, but it’s her heart-on-sleeve delivery of screenwriter Susannah Grant’s well-written quips that made America fall in love with this tough-as-nails upstart.

You look at the character and think high class call-girl. You see her young children eating fast food burgers because the pantry has only a jar of peanut butter and you think broke single mom. Yet when she speaks—all cursing and a no-holds-barred attitude—you can’t help but see her appeal. Brockovich will never give up on you or run away from the promise of her word all while treating you like family. She dissolves any inhibitions she may harbor about lawyers and ensures the case is about humanity rather than money.

This last trait is crucial for anything that occurs to work. You see later on how mistrustful (with reason) small town folk can be towards a flashy, well-dressed Ivy Leaguer looking for facts and exuding a “I don’t want any sentimental projections clouding things because I just don’t care” delivery. These people have been lied to their entire lives while growing up and raising children on land contaminated by hexavalent chromium, a chemical directly related to cancers and other horrific diseases. These folks don’t want to believe nor fathom that anyone would be so cruel. That their ailments could stem from those same kind businessmen who paid for medical examinations and said everything would be okay.

Already pandered to by suits from Pacific Gas & Electric, the last thing they need is a lawyer coming in with big words and tough-to-understand concepts to break the bad news. Those fools would be dismissed as money-hungry cretins, drudging up old history for financial gain as these dying families become exploited. So, in comes Erin Brockovich instead. She’s from the area. She’s one of them. She becomes a translator for the common man as well as their strongest cheerleader.

Soderbergh must be given credit for embracing the detailed research and findings within Grant’s script. We go with Roberts to the water board. We watch her visit the affected families and stand by as she fights for the intrinsic value of human decency, unable to let cold and calculating law firms overturn the personal bonds she’s created. It isn’t her astonishing ability to memorize phone numbers, names, and facts for each client that stands out. It’s the dedication and effort she’s put in at the detriment of her own children and partner (Aaron Eckhart) who are doing their best to support her work back at home.

Because it is great work she’s doing to help others find justice. But to what end does that help her loved ones? What’s the point of money if you don’t have the time to see it used and appreciated by those you’ve worked so hard to provide for? Eckhart’s performance helps bring this conflict out and Albert Finney’s Ed Masry (her boss) undergoes a transformation to show her ability to instill change for the better. Sometimes those with the largest hearts have simply been defeated for too long. And it only takes one to wake up and inspire others around her. What better mission is there than providing hopeless the means to survive with dignity?