Path to War - L'altro Vietnam

In some ways the most dramatic illustration of the bifurcation of American society during 1968 is presented in this movie and then gone in the blink of an eye. LBJ is watching a series of TV broadcasts excoriating him. Among the clips is one of Reverend Martin Luther King, Jr., who states that he (who had been silent on Vietnam for so long) can now no longer keep from speaking against violence and against the greatest purveyor of violence in the world, his own government. It's difficult to imagine Johnson recovering from King's speaking out. Blacks had been among his most resolute supporters for years. LBJ liked them and sympathized with them and they responded in kind. I did some minor canvassing for Eugene McCarthy earlier that year and was surprised to find that every black family I spoke to politely turned away my arguments. It didn't matter to them that they felt Vietnam was draining resources that were needed for domestic programs, or that the disenfranchised were suffering disproportionate casualties. (Know how many sons of Harvard died in Vietnam? Guess.) They fully supported LBJ because of his unyielding and thoroughly courageous stand on civil rights, as the issue was then called. How King's change of heart must have hurt him.

The movie as far as I can tell is pretty accurate. Inevitably, characters come and go, and the story itself is complicated enough to be occasionally confusing. If you want a more thorough analysis of how to go about letting slip the dogs of war, try Halberstam's "The Best and the Brightest."

The acting is fine, with no one's performance outstanding. Frankenheimer's direction, with its drumbeats, hand-held camera, and fast editing of protest marches, recalls his "Seven Days in May." The script sometimes comes up with lines that are a little too epigrammatic to be swallowed whole.

LBJ's passionate commitment to the solution of domestic problems is carefully laid out, and it was real. His forte as a politician was in manipulating others in order to get his way and, minor earlier malfeasance aside, his way was one to be admired. What the film soft pedals or leaves out entirely is a side of his character that was really and truly vulgar and exceedingly unpleasant for subordinates. You didn't have to be a wuss to feel uncomfortable when, as a highly educated senior aide, LBJ would call you into the bathroom for a conference while he was taking a dump. The tongue lashings that Jack Valenti alone endured would fill up a marine boot's schedule for his entire stay on Parris Island. He was also an egomaniacal blowhard, and there is little of this in the film. While still Vice President, he ran into Russel Baker, at that time White House reporter for the NY Times, grabbed him by the arm and pulled him into his office, shouting, "You -- I want to talk to YOU." He harangued Baker for half an hour, accusing the press of lying about his lack of power, of being outside the loop, as VP. Midway through his tirade, Johnson buzzed in his secretary, scribbled a note and handed it to her, then took up where he left off. When a weary Baker finally stumbled back into the hallway, another reporter said: "Do you know what it was he wrote on that note to his secretary? It said, 'Who is this I'm talking to?'"

A bit of this side of LBJs character might have gone some distance in explaining his gradual and reluctant commitment to war. He was the kind of guy who could not admit that he was beaten, a tragedy really, in the same way that Hamlet was a guy who could not make up his mind. It wasn't just that his advisers misled him. It was that he couldn't bring himself to back down. This is one of the things that worried me when I heard our next president from Texas say, "My mind is made up, and I'm not going to change it, because I'm not the kind of guy who changes his mind." (No? Hold on to your hats, boys.)

You come away from this movie filled with a genuine pity for LBJ who, in Vietnam, had got hold of his baby. He really had little choice but to resign. When he did, he went to his ranch and manipulated local merchants so they put his order for an oil sump on the fast track, using the same friendly but conspiratorial tones that he had once used in running the country. He grew his hair out to Beatle length, crept into Doris Stearn's guest room in the mornings in order to have someone to talk to, a lonely man. A tragic story, well done.

...on the heels of "The Gathering Storm". "Path to War" begins with Lyndon B. Johnson's inaugural ball and ends with his rejection of candidacy for another term. Between, unlikely Brit-cum-Texan Gambon delivers a masterful portrayal of President Johnson as a crude but sagacious politician who struggled with the demons of the Vietnam era not unlike another American president who served during an unpopular war which tore at the fabric of this country a century before. A well crafted HBO documentary which needs and takes little license with history, "Path to War" will likely prove a spell-binding watch for those interested in American political history and a good historical review for anyone with an interest in the Vietnam era.

effort at depicting the essence of Lyndon Johnson and his tragic presidency. Michael Gambon is a superb actor and his portrayal of the 36th president is by far the best I've seen yet. Most films depict LBJ as essentially some Texan buffoon without a clue. In reality, Johnson was a superb politician whose hopes and dreams for his country were ultimately thwarted by a war he never wanted in the first place. 'Path to War' shows how a man with all the strength, talent and skill to do potentially great things finds himself losing the battle on both fronts. The war on poverty that he so dearly cared for being defeated by the war in Vietnam, and as his own administration and the country turn against him, the downfall of a political giant.

I would suggest that this film be shown in high school classrooms as a way to educate our young people about LBJ, the man, his times and his legacy. Vilifed though he may be by many, 'Path to War' is truly a fantastic portrayal of the human side of the man and how he struggled to do what he thought was right for his country and for the world.

I tuned into this expecting to see something similar to the exciting, tension-filled "Thirteen Days," but these two movies are not at all alike. Even the titles tell the difference. "Thirteen Days" (about the Cuban Missile Crisis) is a compact story, while "Path To War" deals with events spread out over several years, and as a result moves more slowly and often in much less detail. It is in its own way, however, just as gripping.

"Path To War" is the story of the United States during the Lyndon Johnson administration as it spirals into war in Vietnam, almost against its will. Johnson is well portrayed by Michael Gambon, who manages to capture the complex situation the man was facing, both militarily and politically. Johnson, of course, assumed the presidency upon John Kennedy's assassination and inherited Kennedy's decision to increase US involvement in Vietnam. Johnson is constantly pushed by his military officials and Defense Secretary Robert McNamara (Alec Baldwin), a holdover from the Kennedy administration, to take just one more step, to commit just a few more troops, to bomb just a few more targets in order to win the war. Every step fails, which leads to another step being necessary, until Johnson is hopelessly trapped in a war he can't win but that he can't get out of either. Feeling unable to trust the people who had been Kennedy's advisors, Johnson turns to Clark Clifford (a great performance here from Donald Sutherland) who originally opposes increased involvement in Vietnam, but who eventually realizes that the spiral has gone too far to be stopped and becomes an advocate of stepping things up on the grounds that there is nothing left to do but put everything into trying to win. It's a fascinating study of an entire nation; one that carefully avoids the unfortunate stereotype of Johnson as a warmonger, and instead depicts him as desperate to find a way out of this mess; one that just as carefully notes that Johnson didn't create this mess - he inherited it from Kennedy.

That, of course, is the subplot of the movie. Johnson spends much of the movie (as he spent his presidency) fighting the ghost of John Kennedy and looking over his shoulder at Robert Kennedy, not able to trust those who had been close to the Kennedy's, but unable to simply jettison them.

It really is fascinating movie, well worth watching. It isn't "exciting" in the sense that you'd be on the edge of your seat, but it's gripping and holds your attention well enough. 7/10.

Well-made, at times moving HBO dramatization of the goings-on within the White House as the Vietnam War escalated under Lyndon Johnson.

Michael Gambon plays the U.S. president as a sort of tragic figure torn between his passion for "Great Society" social programs and a resiliency to win the war. The Johnson seen in PATH TO WAR is certainly not the war-monger that protesters of his day alleged. He's meticulous and thoughtful, though perhaps too easily persuaded by his advisers, most notably Secretary of Defense Robert McNamara (Alec Baldwin in his most memorable performance in a long time) and Clark Clifford (an equally superb Donald Sutherland).

In his final film, director John Frankenheimer could be criticized for being a touch soft on Johnson. But this approach, fair or not, serves the film well, allowing us to more easily empathize with the straight-talking Texan. He had men of very high stature and respect telling him that just one more bombing, just one more plane full of troops, just a few more months and the war would be won. The viewer has the 20/20 hindsight of history, but Frankenheimer was careful to remind us that Johnson did not. This makes for some emotional moments. Scenes of the reluctant war president signing sympathy letters for families of the fallen are quietly moving, as is his trip to meet with the wounded in Vietnam. Just as poignant is the instance of Johnson stomping out of a meeting, instructing a speech writer that because of the war's costs, there could be no mention of his beloved Great Society in the next State of the Union address. It seems all Johnson wanted was a better life for Americans; all he got was a bloody quagmire.

As the film and war rage on, body counts rising, Johnson unravels. Consumed by years of warfare with no end in sight, he becomes tense, bitter and worn down. Whether they like Johnson or not, the viewer feels the weight on his shoulders. Even someone unfamiliar with how this story ends could predict it from watching PATH TO WAR. To conclude the 165-minute running time, Johnson delivers his famous televised address announcing he would not seek re-election. He may have wanted to, yet knew he could not.

PATH TO WAR is a sharp interpretation of a tragically fascinating era. Unlike some other versions of political history (Oliver Stone, anyone?), the film never comes off as mean-spirited, even toward characters who remain infamous. It is a straightforward look at the complexities of the often-muddy waters of war and politics. It is also a quite memorable piece of work.