The content itself is of major interest, and it is compounded by a dynamic, colorful portrait of Trumbo by superb actor Bryan Cranston. This is a huge subject with many artistic challenges in trying to depict what Trumbo and his family suffered, how he became a ghost writer for little money and won an Oscar under another name and eventually was able to claim it as the blacklist came under fire and began to be repudiated. The atmosphere in that era of fright and courage must be shown convincingly. Screen notables we know from reality must be portrayed believably. There is also the outburst of bravery by those who would finally credit Trumbo in their films, notably Otto Preminger and Kirk Douglas. Interspersed news clips of actual events must add to the veracity, not undermine the dramatization.

The good news is that “Trumbo” is dramatic, historical and colorful, providing plenty of food for thought and effective performances in addition to the dominating one by Cranston. (I once interviewed Trumbo on location in Hungary when “The Fixer” was being shot from his screenplay and can attest that Cranston has accurately captured his manner). I enjoyed the performances by Christian Berkel as Preminger; Dan O’Gorman as Douglas; John Goodman as B-moviemaker Frank King, who hired Trumbo under assumed names; Helen Mirren as vicious gossip columnist Hedda Hopper, who crusaded against Communism in Hollywood; Michael Stuhlbarg as Edward G. Robinson; David James Elliott a John Wayne; Rick Kelly as President John F. Kennedy; Richard Portnow as mogul Louis B. Mayer and Thomas DuMont as J. Parnell Thomas, the inquisitor who found himself in prison for corruption.

I’m not sure about some of the liberties taken. For example, there is an ugly exchange between Hopper and Mayer in the privacy of his office, with her accusing him of having tried to lay her and spewing anti-Semitism at him. I’m curious to know whether this scene springs from anything authentic and verifiable, or is just imaginative fiction.

I believe there is a transgression against the reputation of Edward G. Robinson. While it is true he vigorously rejected his association with Communism and past activities, whatever I can find shows that he did not name names of friends as the film depicts. There is a difference between turning one’s back on the past and ratting on friends. If I am wrong, I would gladly be corrected.

In covering the personal toll on Trumbo, the film shows him to be a workaholic at the expense of family, with his wife, Cleo, enacted effectively by Diane Lane, protesting his behavior even while standing loyally by him and his principles. His eventual recognition of his faults and attempts to make up for them are also part of the drama, as is his relationship with his children.