As a proud conspiracy nut and someone who has an unhealthy obsession with John F.Kennedy, I found this to be tremendously satisfying. And so did my cinephile self.The epic montages, the fast and crafty editing, the bright and color-drained cinematography...this is fine filmmaking (altough it's a little packed and confusing at times).It seems far-fetched but so does that joke the Warren Commission once told the world
Big, big, big. And confusing. I can't say I kept everything straight but there is a certain power to the emotions of this film. Maybe because I'm not american, I'm from the country with the most sucessful labour party in the world after all, but I can't see why the theories that american right-wingers so easily dismiss are wrong. In the details, maybe, but in the big picture? No, I don't see it.
It amazes me that things like this can happen and no one seems to mind. Of course, assuming he's right. I love this style of filmmaking, the collage of it captivates me, and I find it extremely engaging. In fact, it's that sense of style that saves this from being your standard historical drama. It certainly has all the trappings, but it is in the execution that the film shines.
I've seen this film maybe over 20 times now. Yes. This is the one I watch again and again, the one I watch when I'm depressed, happy, bored, with company, on my own...you get the message. It has tension throughout. I feel Stone's energy in every frame. This film is made with complete love and attention and an amazing ensemble cast is headed by Costner at his very best. A masterclass in filmmaking.
The interesting paradox of these types of American films is that they attempt to construct an American myth out of the deconstruction of the American ideal. Similar but worse than 'Bridge of Spies', we are encouraged to believe the all-American hero is defending true US ideals by challenging its flawed institutions. This only leads to a total feedback loop, which both films propagate. Also 3 & 1/2 hr procedural.
It works because it addresses a deep set sense of curiosity and disbelief that will forever be in the hearts of Americans. But it is completely fabricated and misuses history in blatant ways, just as Stone's THE DOORS did. I felt a bit bad for enjoying it, but again it is when the film address the reality of what we feel after all this time that it actually achieves a level of greatness.
Oliver Stone's crackpottery (esp. when shot by Robert Richardson) actually offers up some true, if very intermittent, pleasures. But of course it's a hodgepodge morass in the end, the director entrenching himself in his tiresome ADD-collage-editing mode and setting the action Spielberg-style (and the stuff with the kids is ALL, at every level, Spielberg at his worst, my god) to a horrifying score by John Williams.