JFK

Oliver Stone is undoubtedly one of the most controversial directors of all time, his work has included horrifyingly real stories of Vietnam, stories of the corruption of politics and a much-despised account of Jim Morrison's life. No matter the subject matter, Stone always gives it his all and sometimes the world's response is positive and sometimes it's negative. With JFK we are faced with one of his films that was probably one of his most successful (next to Platoon of 1986). This is a rare instance in which the public loved the concept of conspiracy in their own country, and took special interest in the debates that it caused amongst the government upon release. The best thing about this film is that it is and was treated as so much more than a film. My honest opinion is that this response was created not because of a more plausible theory but because of Stone's fantastic and unique job putting the story together.

The film opens on a surprisingly suspenseful scene of the murder of John F. Kennedy. The chopped style of the scene lets you know that something is not right, dramatic black and white shots spliced with the blurry grain shots of the home video taken by a witness (it won Academy Awards for Best Film Editing and Best Cinematography). This, accompanied by John Williams' excellent original score helped do an excellent job of creating a mood, just for this very first scene. Often times a director will stop after this, give it his all for style and then stop after the first scene, but Stone doesn't do this. He makes the film so much more than a boring investigation; he takes you in to each of the puzzle pieces (indeed, it feels like you're with Kevin Costner "digging" through hundreds of events.) For 90% of these clips that lace the film's concepts together, the camera is not kept steady, it is, indeed, like you are there witnessing it. The human eye doesn't only look at what is important, and a situation of trauma can make everything seem broken, confused. Oliver Stone doesn't try to make sure you understand what's going on. Some frown upon this, but it's realistic and that's what counts.

Kevin Costner plays Jim Garrison, the district attorney of New Orleans who investigates the murder of John Kennedy. Sometimes you are expected to disagree (at first) with some of Garrison's presumptuous statements, and when you do there is always at least one character around who will agree with you. Stone realizes most viewers aren't devoted enough to believe everything Garrison says no matter what it is throughout the film. Stone has said that he wants people to "rethink history" and that this film is not guaranteed fact, but an "alternate myth" to the myth that has been presented before. The story is not solid because very few ideas or people or events in life are. What I mean to say is that Garrison's comments are not necessarily ridiculous, it's just a matter of how hard he tries to support them. The focus constantly changes -- yes, Costner will smile a bit when he makes a ridiculous remark that everyone rolls their eyes at, yes, even at the end of the film some clips will be left unchecked, and yes, you will see that there is no way that the question "who killed JFK" is answered as simply, solidly, and, dare I say it, Hollywood-esquely as a one man killing. If you watch this movie looking for real life, without dramatization and without guaranteed entertainment and fun, you will be impressed. This is not a popcorn movie.

And finally a word should be said about the actors' enhancement of the realism of the film. Most notable are Joe Pesci as the frantic David Ferrie who pretends to be a victim but truly (we see) had much more to do with it than he pretends (although convincingly was not an assassin -- he blows the whole thing out of proportion "this is too f*cking big for you, you know that?") and Tommy Lee Jones as the wry ring leader Claw Shaw, who seems to be a pompous upscale member of society that has been doing the dark business of conspiracy behind closed doors. The fact that these characters can appear real to us and not just appear as familiar actors taking on a role (as you might feel in Ocean's Eleven) truly does the film justice in driving it forward.

This is in fact one of my top three favorite movies, but I tend to refrain from mentioning it as just this to my friends-- I'm sooner to mention Memento or Fight Club. The reason for this is that the movie is almost an acquired taste, and certainly not normal entertainment for a teenager. It's honestly written for a generation above me, but everything that makes it (up to and including the "kings are killed" and other political themes) are intriguing to me, and for me anything intriguing grows to be a favorite. Even if the subject is not something that ever really impacted me, I take themes to heart, and I always love a good "enigma wrapped in a riddle."

NOTES: -Maybe a point off for being inconsistent in goal. Though as admirable in a movie as any other characteristic, I found this to be the most restricting on ability to follow along. -Also notable is the fact that it's very release sparked opening of sealed governmental records on the subject.

OVERALL: A+

On the field of storytelling, "JFK" reminds of Costa Gavras' "Z", a political thriller meticulously deconstructing a politician's murder in a fictional Fascist country. Yet it owes more to Akira Kurosawa's "Rashomon" which presented one reality from as many angles as levels of subjectivity. It's interesting that these films, all one-word titled, were made in the same intervals of time and like "Rashomon" and "Z", "JFK" is less a name than a code that encapsulates behind the mystery and the patriotic mask, a more universal truth about humanity.

Still, patriotism is seriously involved and it's very significant that Oliver Stone, one of America's most prolific political film-makers, much more a Vietnam vet, handled the subject of Kennedy's assassination. As a man who practiced America's ideals on a muddy battlefield, Stone is entitled to question these values he fought for and the integrity of the leaders that sent him out there: indeed, why would America send soldiers to fight foreigners in Vietnam? Why so far when Cuba is so close?

Money is the key. There are no warmongers but businessmen who generate money out of all the steel, the guns, the helicopters, the machines that are blown to pieces in Asia. In fact, Stone didn't make a Vietnam and a President trilogy but a colossal oeuvre about Politics and War. And to a certain extent, Kennedy can be regarded as one of the Vietnam War's victims, as a collateral damage: he was against the conflict and got killed before putting an end to it. It doesn't point an accusing finger on the Army, but it highlights at least one serious motive for Kennedy's assassination.

And that's the essence of the investigation lead by District Attorney Garrison, Kevin Costner at the peak of his bank-ability. Garrison isn't satisfied with the conclusions of the Warren Commission that validated the "isolated killer" theory, incarnated by Lee Harvey Oswald (a remarkable Gary Oldman) who conveniently died before his trial. What was his motive anyway? The Commission closed the case, leaving a bunch of altered testimonies, witnesses silenced before exposing their truth and so many unanswered questions. Garrison smells something fishy and who wouldn't? And the compass to guide his investigation is the elementary question: who benefits from the crime?

And this is where Kennedy's assassination takes a sort of legendary aura, playing as a modern version of Julius Caesar. Kennedy could have made a lot of enemies everywhere: CIA, Russia, Cubans, although I wouldn't regard it as an omission, the film didn't even mention the possibility of an involvement from the Federal Reserve Bank since Kennedy always defended the sovereignty of the dollar. But as the film progresses, it gets clearer that Kennedy was a man to eliminate, and one of "JFK"'s highlights (which is saying a lot) is carried by the revelations delivered by Donald Sutherland as Mr. X, in Washington.

There are two levels in "JFK", the mystery surrounding the murder and the investigation, what happened and what is known. And both interact in a masterstroke of editing, probably one of the most complicated, intricate and brilliant ever committed to screen, certainly a school-case for wannabe editors. Literally, "JFK" is served like a salad of documents, flashbacks, excerpts from the Zapruder film, archive footage, memories, truths and lies, shot in every possible way (sepia, 16mm, amateur, black and white) and as Roger Ebert pointed out, the film would have been harder to follow with an unchanging shooting. The salad is rich but digestible.

And like a 1000-piece puzzle, "JFK" is an assemblage of different portions of reality that tend to get Garrison, if not closer to the 'final image', further from the Warren's conclusions. On that level, the film provides an extraordinary cast of supporting characters, from Jack Lemmon to Joe Pesci, from Kevin Bacon to John Candy, each one leading to one certainty: there was a conspiracy. The analysis of the Zapruder film revealed the timing between the first and last shot, making implausible the 'one-killer' hypothesis, even if he's a sharpshooter. And this very implausibility implies the presence of a second person, which is enough to validate the idea of a conspiracy.

And last but not least, there's the excitability of some interrogated people who know that they put their lives at stakes if they talk. The film is driven by a sense of paranoia that conveys its greatest thrills. What can be more emotionally engaging than a quest for truth anyway, especially when it undermines the deepest beliefs of any good citizen? One of Garrison's employees, played by Michael Rooker, can't accept the possibility of Johnson's involvement, even Garrison's wife (Sissy Spacek) represent this side of America that wants to turn the page. Garrison has detractors and it starts in his own private circle, before he becomes a target for the media.

Garrison embodies the struggle of a man who wants to reconcile with America's ideals, he doesn't fight the government because he's against it, but because the government acts against the people. He feels like owing this to Kennedy, to his vision of America, to his sons, and as his investigation goes on, he witnesses the deaths of Martin Luther King, of Bobby Kennedy, and realizes that the system that killed Kennedy still prevails. Garrison's struggle is magnificently conveyed by the sort of inspirational score that only John Williams could have performed.

"JFK" works on every cinematic level, it's one of the best political films and best conspiracy movies ever made because it doesn't try to tell its own truth but to belie a fallacious version. It starts with an axiom: there was a conspiracy, and as long as it won't be solved, there's an emotional wound in America's heart that would never be healed.

I have stated many times that Oliver Stone is an incredible film maker whose films sizzle with excellent cinematography, good acting, and original storyline. He makes controversial films that are sometimes unappreciated by the public and the critics. I said and believed all this even before I watched "JFK".

"JFK" is a film that stars many A-list actors in major and minor roles, but they give deep imprints nonetheless. Tommy Lee Jones, the Oscar nominated actor of the film, gives a performance that I almost missed due to my not recognizing him. Jones plays Clay Shaw, a powerful figure in New Orleans and a secret homosexual who knew about the plot to kill the president. Gary Oldman is fantastic as the widely publicized murderer, Lee Harvey Oswald. Joe Pesci, fresh from his Oscar in "Goodfellas", as Dave Ferrie, a man who is struggling to cope with the heavy accusations and mysteries of the JFK murder. Donald Sutherland in an Oscar-worthy performance, as an informant that talks to Jim Garrison, played wonderfully by Kevin Costner. Other great appearances include Kevin Bacon, Sissy Spacek, Michael Rooker, and even Walter Matthau in a bit appearance.

Many of these fine performances were worthy of Oscars, but if there is one man that deserved an Oscar more than anyone else, it would have to be Oliver Stone, who did not win Best Director OR Best Picture. Who did he lose to? "Silence of the Lambs". While I do consider the film to be an excellent thriller featuring one of Anthony Hopkins' greatest performances, I must say that in terms of scope and daring, "JFK" was a far superior film. The cinematography was far more varied and ambitious, as well as the subject matter itself. I can understand why "JFK" was passed over, but the reasons are not fair to the extraordinary film given to us.

The appearance of "JFK" is astounding. You are taken to a time of much distrust, horror, confusion, corruption, and cover-up. The murders of JFK, Martin Luther King, and RFK all influenced the time periods and the peoples. Many people tried not to think about it, or else they were scared into silence. Some, like Jim Garrison, tried to present the truth of "JFK", and their efforts are being felt even now.

Before I saw this film, I had seen Oliver comment that "JFK" was a movie in which he got all the crazy theories and presented them. He was not implying that everything was true, and some of it isn't true. But after seeing this film, I am convinced there was definitely more to the story than was originally told, as I believed even before I saw "JFK". This gave me a knowledge of the period, and awareness of the people participating in the drama of the time.

The point of the film is not entirely based on the story of the JFK assassination. It is an outcry from Oliver Stone to remind us that truth is never simple, nor is it always presented by the government. People must struggle to find the truth sometimes, and if it is covered up, it could be lost forever. The film is an attempt to show us that the murder of President Kennedy was a time of much confusion and mix-up. So what was true and what was not? Many eye-witnesses gave conflicted views, while other circumstances were strange in their origins and happening. And while he gave us this, Oliver Stone also presented us with the best film that he has yet made, and his resume is incredible as it is.

I have seen the films "Platoon" and "Born on the Fourth of July": films that Oliver Stone won Best Director for. Why did he not win for "JFK"? Why did it only win 2 Oscars? For me, it is another example of how disappointing the Oscar results can be. I urge all to see this epic film of mystery and deceit, of truth and lies, the work of a master film director known as Oliver Stone.

I feel like with Oliver Stone's JFK, whether or not it's actually convincing is less important than how passionate it is, and how it admirably presents a case over the course of 3+ hours, while never being boring. It's a paranoia-heavy movie, and can kind of make you feel overwhelmed and a little dizzy by the time it's over.

Like anything by Stone, I think parts are overblown and come a little close to feeling slightly silly, but when JFK hits, it hits real hard. There are some incredible performances within it, too (Kevin Costner has never been better, and Donald Sutherland's extended scene - just one - is a highlight), and I love the blending of archival footage with dramatizations.

It's surprisingly well-paced, well-acted, and technically quite the accomplishment, and earns its lengthy runtime well.

The assassination of JFK has been told in every possible way through every available medium. Oliver Stone managed the unimaginable transforming and almost folk tragedy, through a mix of drama and cinema veritè, into a riveting mystery thriller with the paranoiac style of a man who's in touch with paranoia in a quasi permanent basis. Unnerving, frustrating and spectacularly satisfying. Kevin Costner manages to be convincing as the center piece of the conspiracy theory. We believe the whole damn thing because we see it through his logic. Sissy Spacek, as his wife, represents most us and she does it brilliantly. Tommy Lee Jones and Kevin Bacon are a pleasure to watch. Donald Sutherland, Jack Lemmon, Walter Matthau and even John Candy, Sally Kirkland and Vincent D'Onofrio deliver little parts of the puzzle without ever becoming distracting. Gary Oldman is a chilling dead ringer for Lee Harvey Oswald. For film lovers, for history nuts, for pop culture fanatics and for conspiracy theorists, this is a must.