Opiniões dos críticos

Whereas "Primary" has its raw, energetic beauty, "Crisis" offers even more subtly observed detail and moments that are moving, chilling or filled with unbearable tension.

Drew's cinematographers (including Leacock and Pennebaker) were seemingly everywhere at once—in the Oval Office, at the Attorney General's home, in Katzenbach's war room, and even at the Alabama governor's mansion, but their complicity with the Kennedys and, above all, their commitment to the principle at stake shine through in an artistic act of existential engagement.

Crisis, despite being structured around an impending deadline and seemingly unfolding in real time, crosscuts between Robert F. Kennedy and the front lawn of the University of Alabama with a precision that could only come from meticulous editing sessions capable of considering shot scale and rhythm.

The suspense builds with every scene, as Wallace eulogizes his Confederate heroes, the attorney general contemplates calling in the National Guard, the NAACP advises the students on possible risks, the president's advisers calculate the political fallout, and Katzenbach instructs federal marshals to "take whatever force is necessary" to protect the students.

Kennedy takes a back seat in this film to his brother, Robert, who was then attorney general; the candid footage of various phone calls and meetings includes a number of genuinely jaw-dropping moments, including sober discussion of whether Wallace should be physically picked up by the National Guard or just firmly shoved aside. Wallace happily talks to the camera as well, spouting his racist bullshit and insisting that posterity will judge him favorably as a man of great principle. (Bzzt!)