JFK

US, 1991, 188 minutes, Colour.
Kevin Costner, Sissy Spacek, Kevin Bacon, Tommy Lee Jones, Gary Oldman, Joe Pesci, Donald Sutherland, John Candy, Jack Lemmon, Vincent D' Onofrio.
Directed by Oliver Stone.

JFK was co-written and directed by Oliver Stone, Oscar-winner for Platoon and Born on the Fourth of July as well as writer-director of such films as Midnight Express, Year of the Dragon, Wall Street, Talk Radio, The Doors. This is not a film about John F. Kennedy himself. There are visual glimpses of his career and presidency. But this is a film about his death, the investigation by the Warren Report and subsequent conspiracy theories. They focus on Jim Garrison, the New Orleans District Attorney, who has pursued his beliefs for almost 30 years.

Pre-Watergate? and Irangate, most people trusted governments. JFK indicates just how far we have come in suspicion and cynicism. An extraordinary exception is the film's idolising and idealising Kennedy as a man and as a politician, despite later revelations about him. JFK is a media film. It reminds us of the power of movies, a strong plot with twists, characters who attract and repel, stylish photography and editing. Kevin Costner is a credible Jim Garrison and many Hollywood stars, including Jack Lemmon, Walter Matthau, John Candy, Donald Sutherland, Ed Asner appear in cameo roles. The exception is Garrison's wife, Sissy Spacek, who offers all the conventional responses. Her part, like many women's parts in Stone's films, is weakly written.

The focus is on the medium itself. Does it present the truth? Can it? Ever photo is taken at an angle. There is always another angle. Every video sequence is a moment or some moments of captured time. These can be processed. Some of the newsreel footage in JFK is actually Stone's screenplay filmed with actors. So, what is real and what is true? This means that movies, even docu-dramas, are not the best medium for historically accurate stories. Movies dramatise; movies capture moments; movies have angles. JFK then cannot be (and does not claim to be) `historical'. Rather, using media present and past, it reconstructs history so that we can stop and think, ask questions, theorise (even to conspiracies) and, in this way, enjoy.

Other Kennedy conspiracy films include Executive Action (1973), Richard Condon's audaciously satirical suggestion in Winter Kills (1979) and the Kris Kristofferson police thriller, Flashpoint (1983).

1. The impact of the film? The worldwide controversy? Discussions in the United States about conspiracies, the Warren Commission Report, the availability of documentation? Stances pro and con? The film's acclaim and awards?

2. The work of Oliver Stone, his style? His intentions? His use of Jim Garrison's book and Garrison as a central character? The plausibility of what he presents? Credibility?

3. Attitudes towards conspiracy theories about Kennedy's death - in the '60s before Watergate and the public believing official reports? The cynicism and disillusionment of the '70s and '80s? The role of the American government in cover-ups?

4. The role of the media, supplying of information and data, media and interpretation? Stone and his own use of media and media styles, for example his own newsreel footage inserted with actual footage? Editing, commentaries?

5. The title, the credits and the glimpses of John F. Kennedy as a person, as a significant figure, in his time, the idealising of Kennedy (and the ignoring of personal and political revelations about him and his adequacy since)? The political background, Kruschev, the Berlin Wall, the Cuban situation, the missiles? And yet the idealism of Camelot? The Vietnam experience?

6. The opposition to JFK: military officials (and the speech by Eisenhower at the opening of the film)? Business interests? The anonymous officer, played by Donald Sutherland, giving information, explanations about the military and business hierarchy? Armaments, the presence in Vietnam? The anti-Castro Cubans and movements in the United States? Right-wing fanatics? Business interests and their paramilitary organisations? The CIA?

7. Audience knowledge of Kennedy, memories of him and of his death and its impact? Changing attitudes towards Kennedy since his death? Images, speculation? The effect of three hours of this film - and audiences leaving and their attitude towards the assassination?

8. Colour photography, the skill in cinematic styles, editing? The range of the cast? The musical score?

9. The background of Dallas, the presidential visit, Kennedy and his entourage, the crowds, information about the route, the observer and his Super 8 film (and its not being available unless subpoenaed)? Photos, verbal evidence and interrogations? The number of the shots? The question of the single bullet - and the explanation of its alleged `magical' journey? The reaction of the police, the arresting of Lee Harvey Oswald, the interrogation, lack of records, the ease with which Jack Ruby could approach? The sitting of the Warren Commission, its report, the 26 volumes - without index? Consistencies and inconsistencies within the report? Authorities, vested interests - even to Lyndon Johnson?

10. Jim Garrison and New Orleans, Kevin Costner's screen presence and charisma? Audiences identifying with Costner and, therefore, Garrison? The District Attorney, his skill at his work, his colleagues and their collaboration? Watching the television, the motorcade, the impact of Kennedy's death? Garrison as a lawyer, his status in New Orleans? A family man, an ordinary man? His relationship with Liz, the tensions, her presuppositions about the assassination, about Oswald? The children and their relationship with their father? His being busy, neglecting his family? Seeing them together, Liz and her wanting to walk out? The dangers? Her change of heart and coming to court? The background portrait of the family?

11. The New Orleans scene and Guy Bannister and Jack Martin, the flashbacks, their drinking, Bannister and his disdain of Kennedy? Reaction to the assassination? The arguments, their work, documentation, Bannister and his conspiracies? His bashing Jack? The interrogation of Jack three years later, Jack and the explanations, his fears? Bannister and his connections, Clay Shaw? With David Ferrie, Lee Harvey Oswald? The Cubans? The various agencies? The paramilitary training? The address of his office, Garrison checking out the doors and entries?

12. New Orleans and David Ferrie, calling him in for interrogation, his lies? The homosexual background and company? Friends, his own personal style, his story about wanting to be in the seminary? The story of goose-hunting and going to Texas? The inconsistencies? His own fears? The flashbacks and seeing him in action with Bannister and Shaw? Paramilitary training and expertise? The Cubans? The protests in New Orleans, Oswald and his continued presence? Ferrie, the later interrogations - and his death?

13. The portrait of Garrison as a conscientious District Attorney, his close associates, Suzy Cox? Their discussions, meetings, theories, investigations and interrogations? The years passing? New Orleans responsibility, Lou and his moving out - his return to the court? A solid team?

14. The background of politicians - and the sequence of Garrison going to Washington with Senator Long? The political implications and connections? The Warren Report?

15. The range of witnesses, the film's continually returning to them? Interviews with the police, the verbatim from the Warren Report investigations? The flashbacks? The reconstructions, the route of the motorcade, the television-style interviews? Bowers and his evidence - and his death? The family groups? The dead woman who allegedly heard the Cuban planning and her being thrown onto the road? The sinister deaths - and the number of deaths of witnesses?

16. Clay Shaw, his presence in New Orleans, as seen in the flashbacks with Bannister and Lee Harvey Oswald? His homosexuality and moving in homosexual circles? Garrison and his associates going to the prison, searching out Willie O'Keefe, the interviews? O'Keefe, his manner, background, the male prostitute? His status in prison? In court, evidence against Shaw? The flashbacks, Shaw picking him up, the meal, seduction, cross-dressing? The crediting and discrediting of O'Keefe?

17. Shaw and his reputation in New Orleans, Liz Garrison and her response? His being arrested, going into court? His aliases? His self-assurance, business deals and connections? The reconstruction of his behaviour, connections? His denials? The court sequences? The behaviour of the judge, the objections, sustained or disregarded? His speeches in the courtroom? Garrison, the defence lawyers? The speeches to the jury? The `not guilty' verdict - the aftermath, Shaw leaving, the press and their interviewing Shaw as well as Garrison?

18. Dean Andrews, his manner of speaking, connections, the law, the lies, his style in discussions with Garrison? In the witness box?

19. The portrayal of Lee Harvey Oswald, the reconstruction of the months before the assassination? An enigmatic character, the Marine training, the training in languages, his visit to Russia, documents, Russian citizenship, marrying Marina? His return home, the guns? The basis of his presence in New Orleans, the campaigns, the address on the leaflets handed out? To Texas, his job? On the day of the assassination, relationship with Marina? The neighbours and their comment? The boarding house? At work, meeting people in the building? The explanation of his doing it himself (and the re-enactments with the speed of cocking the gun and firing the bullets, and possible accuracy)? The other assassins, his fleeing the building, caught at the movie theatre, the death of Officer Tippett? The interrogations, his declarations of innocence and that he was a patsy? The witnesses? The records and their lack? Jack Ruby killing him?

20. Jack Ruby and his background, connections? His motivation for killing, the shock for the American public after the assassination at Ruby's murdering Oswald?

21. X - and the information given, approaching Garrison, explanations of the military, the build-up in Vietnam, the need for a presence in Vietnam? The attitudes of the Pentagon? The discussions and explanations for Garrison - and for the audience? Giving some kind of possibility for such a conspiracy?

22. The impact of the court sequences at the latter stages of the long film? Speeches, reconstructions? The motorcade, Kennedy shot, the information about the bullets, his falling? Governor Connelly? His being taken to hospital, the transfer of the body to Washington, the surgery, the officials and their presence, the demands made on the doctors? The relationship of this information to the Warren Report? The allegations of cover-up - even to Lyndon Johnson?

23. The overall effect of the film? The influence of movies? Their power? Fact, fiction? Angles of photography, other angles, editing, processing? Interpretation? The credibility of Garrison? The value of this kind of film in raising issues?