Patricia Clarkson is an actor who always hits real notes, but it has been a while since she played the full and exciting movie roles of the movie, just like her role in Lilly. The film was yesterday a whistleblower drama based on the life of Lilly Ledbetter, an image of a family-style citizen—Alabama’s wife and mother served as director at the local Goode Tire and Rubber Factory factory, when she became an activist almost as herself.

In Goodyear, Ledbetter began hanging tires on factory floors in 1979. Then, she climbed up the management ladder just to be knocked down continuously. Her job record is top drawer, but she is the only female supervisor at the factory, which makes many around her nervous. At the end of those 20 years, she learned that she was making half of her male colleagues. (They also have no training.

This kind of person (and movie characters) is inevitably described as "chaotic" and "feisty", but even if Lilly violates the system, she has nothing gorgeous or just about it. Clarkson plays her in Shopworn Bangs, his southern directness and flickering reality are her eyes. She shows you the power of Eli Lilly, the inner fire of every day, but her tentative quality is not the natural hesitation of a man who is not Showboater, who does not consider himself a warrior of justice, especially in doing so, and does not seem to rise much.

For a long time, there has been a certain paradox built into the whistleblower movies. We see like Russell Crowe's role in "Insider" in "serpico" or in "Al Pacino" or Meryl Streep in "Silk Wood", it should be that these are the average people who become heroes, shaped into better versions by the situation. However, like most movies are indelible, they have a way to elevate the crusade quality of the hero to something iconic. Julia Roberts does do that in "Erin Brockovich", one of everyone's grandmothers - "Norma Rae", Sally Field rose to lead the textile union. To some extent, these characters have become larger than life span, which is part of Hollywood glory.

Patricia Clarkson may be a bigger lifespan than she (when I saw her on stage on stage Blanche Dubois’s “a Desire called “Desire” with her glowing power), but the beauty that Lilly shows is that she makes Lilder Ledbetter Plainspoken the Lyly Ledbetter Plainspoken, dog, dog, dog, a woman with her head. She became one of us. Eli Lilly won’t be shaking. When she found out the axes on her salary (via the anonymous list left in the locker) she visited a local law firm and told her there was no case at the beginning. But because of the diligence of a lawyer, Jon Goldfarb (Thomas Sadoski), she stepped into court and felt like one of those lax and painful moments, the jury jury found the salary problem, she was in favor of her compensation, and sentenced her to millions of compensation. We think: Hallelejuah!

But part of the message of "Eli Lilly" is that it is no longer the 1970s. Now, there are levels of aimed at distorting the business and political bureaucracy, reversing sharp reports, which defines that early era of carnival. In "Eli Lilly", Goodyear certainly appealed the jury's decision, which was overturned despite all the evidence. So it's back to the first one.

This keeps happening. Now it's the system. The case is the original question about gender equality (i.e., equal salary for equal work) will extend all the way to the Supreme Court, and although not Ruth Bader Ginsburg, it will be shot down again (a clip from Ginsburg that discusses the clips that cumulatively accumulate to the Greeks’ case of Ryderbet throughout the film). It was the media’s story about Lilly that made her a public face on the issue. But in Congress, post-Ricky Republicans scored on their corporate scorecards and would be deprived of the funds needed to ensure reelection if they didn’t vote in the “right” way. That's also a system.

The case "Eli Lilly" is about continuing to slide back into the square. Yet the slow-burn force of the movie is that, as Rachel Feldman has directed it, with a fixation on the details of process comparable to what we saw in “Lincoln” or the documentary “Enron: The Smartest Guys in the Room,” the story is really about how America works now — not as tumultuous political drama, but as ordinary citizens carving out justice one ruling and statute and red-tape tangle at a time. Lilly has a complex family life with the love of her stupid husband Charles (the wonderful John Benjamin Hickey), but her son Philip (Will Pullen) is a teenage ne'er ne'er-do-well who resigns and gives up on his family, which is Lillys Lillys Lillys. Charles was diagnosed with severe skin cancer along the way. Clarkson plays the way these traumas are too consumed to make Lilly a "selfless" activist.

The case ends a moral question: Will every unequal salary Lily be discriminated against? Or did she have 180 days to make this request since her first salary? The entire movie is leaping on Lilly’s basketball, and Clarkson’s performance makes the work a reality because the real drama is Lilly’s action, which is the feeling of Lilly in every direction – hope, passion and frustration, and tears of anger emanately. However, Lilly will never lose that sparkle. When she headed to Washington to lobby for the 2009 Eli Lilly LEDBETTER FAIR PAY Act (a law signed by President Barack Obama), she knew who she was doing it for. Every woman in America.

Of course, I haven't mentioned it in the past four months when I talk about how justice in America works "now". That's a different story. However, this is not more relevant to the daily re-Beijing spirit of "Eli Lilly". The message of this movie is that a normal woman – not an icon, not a freedom fighter – is exactly what it takes to make a difference. It was a message to “Mr. Smith goes to Washington”, although it was also a message that never made more meaningful than today. With autocracy taking a place in the United States, we now have a country with 330 million people. Taking action is something we don’t know how to do. "Eli Lilly" is a movie that says: This is what to do. Follow this woman's leadership and follow her basic desires deep down. Patricia Clarkson plays Lilly Ledbetter, the way she is a desire because she has what we all have: a greater desire to compare injustice.