Monday, November 17, 2008
Friday, November 14, 2008
The film begins with Charles and
Ed speaks to someone at the State Department and is typically given the runaround. He then speaks to his congressman and is given more hollow reassurances. Ed decides to go to
Sissy Spacek is excellent as Charles’ wife. She’s understandably jaded because she knows the score – American officials either can’t or won’t do anything to help but they do create the illusion that they are doing something.
Missing asks tough questions not just of the Chilean government but also of the
The first disc includes a theatrical trailer.
The second disc starts off with two video interviews with Costa-Gavras – one done just after Missing’s
Charles’ wife, Joyce Horman (played by Spacek in the film) is interviewed and talks about the accuracy of Missing. She feels that it was lenient on the portrayal of the U.S. government. Joyce talks about how and why she and Charles were in Chile. She also offers her impressions of what it was like there at the time.
“Producing Missing” features producers Edward and Mildred Lewis and Sean Daniel, and writer Thomas Hauser, author of the film’s source book, discussing the making of the film. The Lewis’ talk about how Hauser’s book motivated them to get the film made. Hauser talks about what drew him to the Charles’ story. This is an excellent look at how the film came together by the people who worked on it.
“1982 Cannes Film Festival” features Costa-Gavras, Jack Lemmon, Ed and Joyce Horman with family friend Terry Simon are interviewed at the festival. Lemmon talks about what drew him to the film while the Hormans talk about their experiences and what they think of the film.
“Pursuing the Truth” is an interview with Peter Kornbluh, director of the National Security Archive’s Chile Documentation Project. He talks about declassified documents pertaining to the
Finally, there is “In Honor of Missing,” an excerpt from a 2002 event by the Charles Horman Truth Project to support efforts to bring General Augusto Pinochet and others to justice for human rights violations. Actor Gabriel Byrne hosts the ceremony and talks about how the film changed him. Costa-Gavras and some of the stars from the film also speak.
Monday, November 10, 2008
Monday, November 3, 2008
The assassination of American President John F. Kennedy is a watershed event in American history and one that has provoked people to question their own beliefs and those of their government. Yet, for such a highly publicized affair there are still many uncertainties that surround the actual incident. Countless works of fiction and non-fiction have been created concerning the subject, but have done little in aiding our understanding of the assassination and the events surrounding it. Oliver Stone's film, JFK (1991) depicts the events leading up to and after the assassination like a densely constructed puzzle complete with jump cuts and multiple perspectives. Stone’s film presents the assassination as a powerful event constructed by its conspirators to create confusion with its contradictory evidence, to then bury this evidence in the Warren Commission Report, which in turn manifests multiple interpretations of key figures like Lee Harvey Oswald. JFK offers a more structured examination of the conspiracy from one person's point of view where everything fits together to reveal a larger, more frightening picture implicating the most powerful people in the United States government.
JFK presents the assassination of President John F. Kennedy as a powerful event constructed by its conspirators to create confusion with its contradictory evidence and then theorizes that the evidence was buried deep in the Warren Commission Report. Stone’s film filters a structured examination of two conspiracies, one to kill the President and one to cover it up, from one person's point of view — Jim Garrison (Kevin Costner) — who then assembles all of the evidence at his disposal to reveal a larger, more frightening picture that implicates the most powerful people in the United States government. Stone saw his movie consisting of several separate films: Garrison in
While attending the Latin American Film Festival in
Stone was not interested in making a film about Garrison's life but rather the story behind the conspiracy to kill Kennedy. To this end, he also bought the film rights to Crossfire: The Plot That Killed Kennedy by Jim Marrs. When Stone set out to write the screenplay, he asked Sklar to co-write it with him and distill the Garrison book, the Marrs book and all the research he and others conducted into a script that would resemble what he called "a great detective movie." Stone told Sklar his vision of the movie: "I see the models as Z (1969) and Rashomon (1950), I see the event in Dealey Plaza taking place in the first reel, and again in the eighth reel, and again later, and each time we're going to see it differently and with more illumination.”
Sklar worked on the Garrison side of the story while Stone added the Oswald story, the events at Dealey Plaza and the "Mr. X" character. To tell as much of the story as they could, Stone and Sklar used composite characters, a technique that would be criticized in the press, most notably the "Mr. X" character played by Donald Sutherland and who was a mix of several witnesses and retired Air Force colonel L. Fletcher Prouty, an adviser for the film.
Stone ambitiously wanted to recreate the Kennedy Assassination in Dealey Plaza and his producers had to pay the Dallas City Council a substantial amount of money to hire police to reroute traffic and close streets for three weeks. He only had ten days to shoot all of the footage. Getting permission to shoot in the Texas School Book Depository was more difficult. They had to pay $50,000 to put someone in the window that Lee Harvey Oswald was supposed to have shot Kennedy from. They were allowed to film in that location only between certain hours with only five people on the floor at one time: the camera crew, an actor, and Stone. Co-producer Clayton Townsend has said that the hardest part was getting the permission to restore the building to the way it looked back in 1963. It took five months of negotiation.
Filming was going smoothly until several attacks on the film and Stone began to surface in the mainstream media including the Chicago Tribune, published while the film was only in its first weeks of shooting. Five days later, the Washington Post ran a scathing article by national security correspondent George Lardner entitled, "On the Set:
The film depicts the events leading up to and after the assassination as a densely constructed story complete with jump cuts, multiple perspectives, a variety of film stocks and the blending of actual archival footage with staged scenes dramatized by a stellar cast of actors. This blurring of reality and fiction by mixing real footage with staged footage makes it difficult to discern what really happened and what is merely speculation. Stone does this in order to create what he calls "a countermyth to the myth of the Warren Commission because a lot of the original facts were lost in a very shoddy investigation" and simulate the confusing quagmire of events as they are depicted in The Warren Commission Report. Stone creates different points of views or "layers" through the extensive use of flashbacks within flashbacks. Stone has said that he “wanted to the film on two or three levels — sound and picture would take us back, and we’d go from one flashback to another, and then that flashback would go inside another flashback . . . I wanted multiple layers because reading the Warren Commission Report is like drowning.” This technique conveys the notion of confusion and conflict within evidence
The normally wooden Kevin Costner acts as the perfect mouthpiece for Stone’s theories. The auteur’s infamously forceful directorial approach to his actors pays off here as he reins in the actor’s usual tics and mannerisms. Stone was no dummy — he knew that by populating his film with many famous faces, he could make the potentially bitter pill that was his film, that much more palatable to the mainstream movie-going public. The rest of the cast is phenomenal. Gary Oldman’s delivers an eerily authentic portrayal of the enigmatic Lee Harvey Oswald. Tommy Lee Jones is note-perfect as the refined, self-confident businessman, Clay Shaw. Even minor roles are filled by such name actors as Vincent D’Onofrio, Kevin Bacon, Jack Lemmon, and Walter Matthau.
The film throws many characters at us and it is easier to keep track of them by identifying them with the famous person that portrays them. Stone was evidently inspired by the casting model of a documentary epic he had admired as a child: “Darryl Zanuck's The Longest Day (1962) was one of my favorite films as a kid. It was realistic, but it had a lot of stars . . . the supporting cast provides a map of the American psyche: familiar, comfortable faces that walk you through a winding path in the dark woods.” Future biopics with sprawling casts, like The Insider (1999), and Good Night, and Good Luck (2005), and The Good Shepherd (2006) would use this same approach.
Seeing JFK now, one is reminded that first and foremost, it is a top notch thriller. There are so many fantastic scenes of sheer exposition that would normally come across as dry and boring but are transformed into riveting scenes in the hands of this talented cast. For example, the famous scene between Garrison and X (Sutherland) where the mysterious man lays out all the reasons why Kennedy was killed and how is not only a marvel of writing but also of acting as the veteran actor gets to deliver what is surely one of the best monologues ever committed to film.
Once the film was released in theaters, it polarized critics. The New York Times ran an article by Bernard Weinraub entitled, "Hollywood Wonders If Warner Brothers let JFK Go Too Far.” In it, he called for studio censorship and wrote, "At what point does a studio exercise its leverage and blunt the highly charged message of a film maker like Oliver Stone?" The newspaper also ran a review of the film by Vincent Canby who wrote, "Mr. Stone's hyperbolic style of film making is familiar: lots of short, often hysterical scenes tumbling one after another, backed by a soundtrack that is layered, strudel-like, with noises, dialogue, music, more noises, more dialogue.” However, Roger Ebert praised the film in his review for the Chicago Sun-Times, saying, "The achievement of the film is not that it answers the mystery of the Kennedy assassination, because it does not, or even that it vindicates Garrison, who is seen here as a man often whistling in the dark. Its achievement is that it tries to marshal the anger which ever since 1963 has been gnawing away on some dark shelf of the national psyche.”
Rita Kempley in the Washington Post wrote, "Quoting everyone from Shakespeare to Hitler to bolster their arguments, Stone and Sklar present a gripping alternative to the Warren Commission's conclusion. A marvelously paranoid thriller featuring a closetful of spies, moles, pro-commies and Cuban freedom-fighters, the whole thing might have been thought up by Robert Ludlum.” On Christmas Day, the Los Angeles Times ran an article entitled, "Suppression of the Facts Grants Stone a Broad Brush" attacking the film. New York Newsday followed suit the next day with two articles – "The Blurred Vision of JFK" and "The Many Theories of a Jolly Green Giant.” A few days later, the Chicago Sun-Times ran an article entitled, "Stone's Film Trashes Facts, Dishonors J.F.K." Stone even received death threats as he recalled in an interview, "I can't even remember all the threats, there were so many of them.” Time magazine ranked it the fourth best film of 1991. Roger Ebert went on to name Stone's movie as the best film of the year and one of the top ten films of the decade.
Riordan, James. Stone: A Biography of Oliver Stone. Aurum Press. 1996.