The Movie Of Jfk By Oliver Sto

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The Movie Of Jfk By Oliver Sto Essay, Research Paper this is my real report Oliver’s Stone’s “JFK” builds up an overwhelming head of urgency that all comes rushing out at the end of the film, in a tumbling, angry, almost piteous monologue – the whole obsessive weight of Jim Garrison’s conviction that there was a conspiracy to assassinate John F. Kennedy. With the words come images, faces, names, snatches of dialogue, flashbacks to the evidence, all marshaled to support his conclusion that the murder of JFK was not the work of one man. Well, do you know anyone who believes Lee Harvey Oswald acted all by himself in killing Kennedy? I don’t. I’ve been reading the books and articles for the last 25 years, and I’ve not found a single convincing defense of the

Warren Commission report, which arrived at that reassuring conclusion. It’s impossible to believe the Warren report because the physical evidence makes its key conclusion impossible: One man with one rifle could not physically have caused what happened on Nov. 22, 1963, in Dallas. If one man could not have, then there must have been two. Therefore, there was a conspiracy. Oliver Stone’s new movie “JFK” has been attacked, in the weeks before its release, by those who believe Stone has backed the wrong horse in the Kennedy assassination sweepstakes – by those who believe the hero of this film, former New Orleans district attorney Jim Garrison, was a loose cannon who attracted crackpot conspiracy theories the way a dog draws fleas. The important point to make about

“JFK” is that Stone does not subscribe to all of Garrison’s theories, and indeed rewrites history to supply his Garrison character with material he could not have possessed at the time of these events. He uses Garrison as the symbolic center of his film because Garrison, in all the United States in all the years since 1963, is the only man who has attempted to bring anyone into court in connection with the fishiest political murder of our time. Stone’s film is hypnotically watchable. Leaving aside all of its drama and emotion, it is a masterpiece of film assembly. The writing, the editing, the music, the photography, are all used here in a film of enormous complexity, to weave a persuasive tapestry out of an overwhelming mountain of evidence and testimony. Film students

will examine this film in wonder in the years to come, astonished at how much information it contains, how many characters, how many interlocking flashbacks, what skillful interweaving of documentary and fictional footage. The film hurtles for 188 minutes through a sea of information and conjecture, and never falters and never confuses us. That is not to say that we are quite sure, when it is over and we try to reconstruct the experience in our minds, exactly what Stone’s conclusions are. “JFK” does not unmask the secrets of the Kennedy assassination. Instead, it uses the Garrison character as a seeker for truth who finds that the murder could not have happened according to the official version. Could not. Those faded and trembling images we are all so familiar with, the

home movie Abraham Zapruder took of the shooting of Kennedy, have made it forever clear that the Oswald theory is impossible – and that at least one of the shots must have come from in front of Kennedy, not from the Texas Schoolbook Depository behind him. Look at me, italicizing the word “must.” The film stirs up that kind of urgency and anger. The CIA and FBI reports on the Kennedy assassination are sealed until after most of us will be long dead, and for what reason? Why can’t we read the information our government gathered for us on the death of our president? If Garrison’s investigation was so pitiful – and indeed it was flawed, underfunded and sabotaged – then where are the better investigations by Stone’s attackers? A U.S. Senate select committee found in