Dark Waters is the latest film from Todd Haynes, who is tackling a screenplay by Mario Correa and Matthew Michael Carnahan, which is based on the 2016 New York Times article, “The Lawyer Who Became DuPont’s Worst Nightmare” by Nathaniel Rich. It follows Robert Bilott (Mark Ruffalo), a corporate defense lawyer, who – as a favor for a family friend – looks into some potential contamination that may have killed a West Virginian farmer’s cattle. However, as he digs deeper into what the mega company DuPont already knew and what they have been doing, Rob realizes that the company is actively poisoning local communities near their plants, and covering it up.
If you have any familiarity with the works of Todd Haynes, Dark Waters really stands out because it’s easily the most straightforward and conventional of all his work. And on the surface, it very much feels like a “one for them” project that will build some goodwill so that he can get a more personal project greenlit. However, the ethos behind a lot of his films can still be found here, and that is mostly in the idea of how the film is constantly questioning power structures, how people in power use their resources to silence anyone trying to stop them, and the way political (and economic) systems are easily corruptible and leave those in need behind.
The film paints a pretty bleak picture of a small West Virginia town that is plastered with the DuPont logo all over the place from local stadiums to schools, to providing most of the jobs in the town. DuPont is just a part of everyone’s identity there, and it very clearly shows why a company could essentially hold a group of people hostage, and do whatever they please, so long as their bottom line is met. And things don’t get easy for Rob as he tries to bring the information out to light since he is met with resistance not only from DuPont, but also from some of his co-workers at the firm, and even some residents of the town, who feel like they owe so much of their livelihood to the company.
As you’d expect from Haynes, the film is incredibly well made, working alongside regular collaborators like cinematographer, Edward Lachman, and editor, Affonso Gonçalves. They give the film an ominous energy that would fit right into any number of 70s conspiracy thrillers, and frankly, does it better than a number of recent films that have tried to bring the same vibe. I was reminded of The Report, which I didn’t get the chance to review (it’s fine). Both films cover important, relevant events, but whereas the structuring of The Report didn’t allow the drama to unfold in a satisfying way, that is where Dark Waters works. Beyond the importance of the subject matter, it does do the work to get you invested in the story and the characters on their own terms.
Of course, it helps having a cast full of heavy hitters like Mark Ruffalo as the lead, who brings that earnest passion to do the right thing no matter what is thrown at him. Supporting players like Tim Robbins, Bill Pullman, William Jackson Harper, and Victor Garber do a great job at making a strong impression, bringing some personality to roles that would probably seem flat on paper. Bill Camp really shines as the farmer who initially brings the story to Rob’s attention. Anne Hathaway is stuck with the standard wife role, which the film tries to flesh out more than usual, giving her some backstory, but it still functions as the woman who supports the lead. She does a lot to make the role her own, which is admirable.
Dark Waters is as straightforward as these kind of legal thrillers go. From the little bit of plot I’ve given you, it shouldn’t take long for you to see where all the familiar beats go, and it doesn’t do much to deviate from the formula of this kind of movie. However, because you have a lot of talent both in front of and behind the camera, their work elevates the material into something that is absolutely worth your time. It’s a rock solid piece of craftsmanship that will get you angry at the powers that be, and chances are, you won’t be looking at certain items in your house the same way when you get back home.