Conspiracy theorists have spent more time researching their subjects than you have and have facts available to bury you with. Take the filmmaker Oliver Stein, for example. Spend three hours with his epic from 1991 “JFK“Or two more with his new nonfiction summary of the same material and you will be sure to think he makes some points. Without the captivating touch of fiction, Stones is “JFK revised: Through the mirror” comes across as a much rhetorically dishonest work. And without the brio of Stones highbrow-Sam Fuller Filmmakers in the imperial phase, it’s just a pale appendix.
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In “JFK” New Orleans, D.A. Jim Garrison (Kevin Costner) overturned the Warren Commission’s report on the assassination of President Kennedy grim, culminating in a more than 30-minute courtroom scene that challenged the interpretation of the autopsy and ballistic evidence in official history and implored the jury to remove the veil from the state Breaking the veil to discover that Lee Harvey Oswald did not act alone. It was one big enough thing, under the aegis of the Assassination Records Review Board, to expedite the release of millions of pages of records years ahead of schedule. “JFK: Through the Looking Glass,” which refers to the 1991 film throughout, supposedly exists to take a look at the new shit that has been coming to light since 1991. But you will already be familiar with most of the most important points – some of them are often repeated almost verbatim – and much of what is new is intended to confuse rather than clarify the relatively clear thesis of the fictional film.
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Stone interviews several JFK experts, writers, and on-screen text scientists, and confidently identifies some of his key forensics and ballistics experts as radiation oncologists and ophthalmologists. (Still, better an ophthalmologist than an anti-Vaxxer Stone gives shameful camera time for high-handed wack jobs Robert F. Kennedy Jr., who shows up to polish his family’s reputation, and thus his own fame, in a hammer-hard rasp) So many of the supposedly telling facts about the assassin’s bullet chain of evidence, the tangled autopsy protocol, conflicting testimonies, even the weight of Kennedy’s brain, are treated as devastating rather than minor inconsistencies that are most easily explained as the natural consequences of confusion, trauma, bureaucratic sloppiness, the limits of forensic science in the early 1960s, and memory unreliability. Everything is treated as suspiciously atmospheric and therefore significant. (Do not you see?!? Do not you see?!?) In the absence of an articulated, coherent alternative theory that could explain each of the physical and eyewitness testimony better than Oswald, Alone, Occam’s razor cuts the entire first half of the film into pieces. A large and far-reaching government conspiracy is supposed to intervene in every mislabeled photo.
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Even without the benefit of a pause button to check Wikipedia to see what facts Stone left out, his sleight of hand is obvious. A bullet that is claimed to have been undamaged is clearly deformed at its tip when viewed from the front, and for all the stone dogs that the Warren Commission reports as whitewash intended to cover up the role of the CIA in the assassination, surely it is strange that he immediately accepts his conclusion that one of the three shots from the book depository missed the presidential limousine. Stone indicts the Warren Commission’s report for its predetermined conclusions, but regards any imperfection as unequivocal evidence of his own preferred narrative.
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You did not see it
Stein rides on the skirts of “JFK” and supports the documentary with excerpts from the feature film, which are part of. demonstrate Donald Sutherland‘s amazing act break cameo as Deep State Deep Throat, who designs the military-industrial complex for Garrison and forces the actor to tell during the film how “JFK” did in Sutherland, from The Who to the Why . The who is never really answered – Stone zooms out of the decadent gay cabal “JFK” and their suggestion that a bewigted Joe Pesci and Tommy Lee Jones hatched the Kennedy assassination between snorting poppers – but Stone basically suggests it was you. You know her. In archive clips, CIA chief and a member of the Warren Commission Allen Dulles always puffs at his pipe like a figure in one Agatha Christie Thriller.
The voice-over narrative Stone shares with Sutherland and Whoopi Goldberg, Kennedy repeatedly referred to as “progressive” in contradiction to the Cold Warrior Dulles. To underpin Kennedy’s anti-imperialist bona fides, Stone adds an excerpt from his inaugural address: “To the new states we welcome into the ranks of the free, we promise our word that some form of colonial control will not simply be gone a much iron tyranny to be replaced ”- which was actually an express warning to new Third World states not to ally themselves with the Soviets. The implication that the CIA wanted to get Kennedy out of the way so that the military-industrial complex had a clear path to a full-scale war in Vietnam is simply not borne out by the nuance and evolving, but interventionist, Vietnam policy that Kennedy is at that time pursued his assassination. It is one thing for Stone to involve the CIA in the assassination of Patrice Lumumba (Come on, King). But the sentimentality Stone shows by building Kennedy into an almost messianic messenger of peace, another carryover from “JFK”, feels more like “Field of dreams“As Adam Curtis, a boomer’s lament over a fallen father figure and the end of innocence.
The thing is, Stone has already won this debate. “JFK,” which grossed over $ 200 million in 1991 and was nominated for eight Academy Awards, is the primary source of Oswald’s skepticism, a position three in five Americans hold. “Back and to the left”, the Magic Bullet, the Grassy Knoll – all of that is “JFK”. Most Americans believe that Kennedy’s assassination was due to either the Warren Commission’s report or Oliver Stone. It’s a hugely entertaining and addicting piece of Hollywood agitprop, and it has changed the course of history in the direction its creator intended.
So why do this documentation now? As far as “JFK Revisited: Through the Looking Glass” has a right to exist, it should make room for Stone’s JFK crusade in a contemporary political sphere that is much more susceptible to conspiracy theories. “JFK” is accurate and ahead of its time when it comes to highlighting the role of American intelligence in foreign assassinations and frontline groups. (It’s very good for Oswald’s connections with the CIA and the general shadowiness and unpredictability of the world of intelligence workers and sources.) Stone, the one Edward Snowden biopic and almost certainly subscribes Glenn Greenwald‘s Substack, clearly has to do with the Deep State. His long-standing distrust of American intelligence resonates with both current tough left and right-wing American politics. But instead of tracing the parallels from Vietnam to the current, unsinnable war in the Middle East and the scramble between the executive and professional military that has plagued the last three presidential administrations, Stone draws his blows in the discourse wars. Modern parallels in JFK Revisited: Through the Looking Glass are so vague that viewers might think Stone condemns Donald Trump – although he said in interviews that he believes the mainstream media’s fixation on Trump is largely due to him a diversion from an ongoing malice project is at odds with any sunny idealistic view of American foreign policy. He simply leaves his audience with a general admonition not to trust their government. This only means replacing one undisputed dogma with another – out with naivety and purely with nihilism. [C]
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