THIRTEEN DAYS
US, 2001, 145 minutes, Colour.
Kevin Costner, Bruce Greenwood, Steven Culp, Dylan Baker.
Director: Roger Donaldson
There have been many telemovies over the decades about President John F. Kennedy and his family. In the 70s, there was a serious look at the Russian missile crisis of 1962, The Missiles of October. It is now almost forty years since that crisis and we know a great deal more, more, perhaps, than we want to know about the private lives of the Kennedys. With Thirteen Days, we have the opportunity to bypass that private world and the world of scandals to concentrate on what proved to be one of John and Robert Kennedys' greatest contributions to peace: the confrontation with Nikita Khrushchev and the finding of a way that both Russians and Americans could agree to avert war.
Thirteen Days is a film that asks for attention and concentration. It presumes its audience wants to think about the issues and the personalities, that the audience wants to test its own responses to diplomacy, politicking, to trying to read the clues and possibilities for negotiation as well as assess the stances of the moderates (especially Adlai Stevenson, the US ambassador to the United Nations) and the Pentagon hawks whose immediate response is to invoke rules of engagement, especially for retaliation. It is all up there on screen as the film is based on the book of The Kennedy Tapes.
The film also retains the tension of that significant fortnight, from the initial sightings of the Soviet missiles being set up in Cuba, through the strategies and tactics, to the final acceptance of Khrushchev of the Kennedys' face-saving and peace-saving agreement.
John F. Kennedy is so well played by Bruce Greenwood that we are able to see what it was that enabled him to be president and for people around the world to have faith in him. Greenwood has often portrayed charming villains (particularly nasty in Double Jeopardy) but here he is a mixture of strength and hesitation as he asserts himself and his authority. Stephen Culp looks like the boyish Robert Kennedy and communicates his shrewdness (not without aggressive potential blunders) and his intense moral support of his brother.
Because this is an 'entertainment' rather than a documentary, Kevin Costner (New England clipped accent and all) is the star, playing presidential adviser, Kenneth O' Donnell. For those who know or remember the period, all the personalities are on screen: Secretaries Dean Rusk and Robert Mc Namara, Vice- President Lyndon Johnson, Generals Lemay and Maxwell, Press Secretary Pierre Salinger.
The screenplay by David Self admires the Kennedys but is not uncritical. It is also strongly cautionary on rushing into war without considering all aspects of diplomacy. Finally, it quotes John F Kennedy that all problems arise from human causes and, therefore, can be handled by human resolve.
1. The impact of this film at the beginning of the 21st century? 40 years after the events? Memories of the Kennedy era, of the confrontations with Cuba and the Soviet Union? The changing history of the 40 years and the breaking down of barriers with Russia? With Cuba? Castro continuing to be president during all those 40 years?
2. The re‑creation of the period, the White House, the Pentagon, political atmosphere? United States, the military, the navy? The Russians and their navies, the putting of the warheads in Cuba? The flights over Cuba? The atmosphere within the White House, in Kenny O' Donnell's home? The musical score?
3. The 13 days and the missiles of October? The Americans being unprepared, Khrushchev's word? The discovery of the installations by the spy planes? The detailed photography? The information to the White House? The effect on the government, on the military? The previous experience of the Bay of Pigs? Kennedy's encounters with Khrushchev?
4. The structure of the film with the detailing of the days, the events of each day, the development of the crisis, the handling of the situation by the Americans, the reaction of the Russians? The growing tension, the possibility of political solutions, the embargo and the blockade? The acts of war ‑ but authorities not wanting to give any indication of death or bloodshed? The public confrontations, the meetings with ambassadors, the United Nations? The confrontation in the United Nations, Russia backing down? Khrushchev sending envoys to discuss behind the scenes? The final Russian decision? The dramatic tension in this structure?
5. World peace and the 1960s, the nuclear options, the experience of the '50s, the Cold War? Castro in the Caribbean? The relationship with Russia? The danger from nuclear destruction?
6. The focus on Kenny O' Donnell and Kevin Costner as a means of mediating the events with the audience? His family background, wife and children, devout Catholic, ordinary citizen yet political adviser? His friendship with the Kennedys over many years, criticising them to their face, defending them to others? His presence, advice, wisdom? His liaison with the other members of the advisory board? His challenging issues? The disagreement about the press story about Turkey? His phoning the air personnel and urging them not to be hit? The communication with the leader, Anderson, who was killed? The tension, concern about his wife and children and their being protected? The relief at the end of the crisis?
7. The portraits of Jack and Bobby Kennedy? No indication of the personal crises and scandals that were revealed afterwards? The complete focus on their political and diplomatic skills? Jackie Kennedy and the children in the background, at Mass on Sunday? John F. Kennedy and his background, his father, politics, the decisions that he had to make ‑ and the experience of Berlin, the Bay of Pigs, the Pentagon? His seeking out advice and the initial advice, especially of Dean Acheson, being a hawk's advice? Maxwell and Lemay and their urging bombings of Cuba? The political ramifications? The meeting with the Russian ambassador? Personal integrity, seeking advice, taking time? The portrait of a statesman? His wanting peace rather than war? Yet having to be strong for the American public? The decision to go on air and his television speech? His plan with Bobby to plant the information about Turkey in the paper and its backfiring on them? The various confrontations, the opening up of the diplomatic possibility, weighing the pros and cons? The final decision ‑ and peace coming in time? Bobby Kennedy and his shrewdness, supporting of his brother, the harsh attitudes towards Adlai Stevenson and wanting to bring him out of the United Nations? More confrontational than his brother? His being chosen to be the liaison with the Russians, his driving with Kenny O' Donnell, meeting the Russians, explaining the situation, negotiating, the language of diplomacy? His effectiveness?
8. The Pentagon and the Generals, the navy? Their wanting a war, hawkish attitudes, resentment of the Kennedys? The plans for rules of engagement? The blockade, firing warning shots, firing flares? (And Robert Mc Namara's error and his reaction?) The military being talked down by the Kennedys? What the military stood for?
9. The navy, the blockade, Kennedy phoning through to the commander of the ship, the tension about the time for the blockade, the ships turning round? Finding the undetected ships, their moving on, the Russian interpreters, no reaction, the firing of the flare ‑ and Mc Namara's reaction? The resentment of the Admiral?
10. The political advisers, Lyndon Johnson, Dean Rusk, George Bundy, Robert Mc Namara ‑ their presence, varying opinions, support, challenges?
11. Adlai Stevenson and his history against Eisenhower? His suggesting more conciliatory stances and feeling that he had cut his own throat? Bobby Kennedy despising him and ready to take him out? Kenny O' Donnell supporting him, urging him on? His arrival at the United Nations, diplomatic style, challenging of the Russians and "staying till Hell freezes over", the people conceding their countries' time to Stevenson? (And the background of the vote, unanimous, of the American states in support of the blockade?) Pierre Salinger and his having to handle the press ‑ with a lack of definite information?
12. The Russians, Gromyko and the encounter with the Kennedys, the friend of Khrushchev, the FBI research on his credentials, his talking to the journalist who approached the Kennedys, the meeting, the possibility of negotiation, the various letters and the uncertainty in the White House whether there was coup in the Kremlin? The final strategy, the negotiations going back to Russia?
13. The scenes of the flights over Cuba, the Cubans and the Russians firing back, the photos ‑ and the holes made by sparrows in the wings of the plane? The final military flyover, the photos, the missiles and Anderson's death? The film finishing with Kennedy's letter?
14. A portrait of American politics in the days of Camelot? The focus on diplomatic integrity, intuition and shrewdness, delicacy of negotiation? A contrast with the later critiques of the American presidency because of personal foibles and personal scandals? A glimpse of a world crisis and how it could be handled, Kennedy's final words of optimism about human endeavour?
