Michael Mann’s The Insider emerged in the halcyon days of 1999, at the tail end of period of seemingly endless economic expansion and progressive liberal reform across the United States, indebted to and reflective of the pervasive cynicism and paranoia of the mid-70s American political cinema. Like Joe Frady, the overzealous investigative reporter at the center of Alan Pakula’s The Parallax View, Mann regards “60 Minutes” producer Lowell Bergman as an honorable man beset by an institutional corruption he can…