…and the quest to see everything

All Costner, All the Time.

1960’s Louisiana District Attorney Garrison (Kevin Costner) gives one of his teammates the good old American finger and talk down. In a restaurant nonetheless, talking about issues of national gravity.

Atticus has a daughter, but what if he also has a wife (Sissy Spacek) and son? Director Oliver Stone calls JFK his The Godfather but I just brought up another comparison. Also, if this was a de Palma film, I’d be rolling my fucking eyes.

Saturday nights mean that channels compete for my attention and get me away from finishing things I need done. One channel had Martin Scorsese’s The Aviator, but nonetheless I chose a movie equally regarded as having a clown car of actors, JFK, which I caught at around the 25 minute mark. I’m probably not wrong in speculating about its reputation as ‘prestige Oscar bait,’ a label that seems weird for a film that gives a legitimate voice for what others consider a ‘tin foil hat’ way of thinking.

It’s one of those movies that make parts of me wish I was older, because the flourishes of colour between red and white should have only been experienced in theatres. But watching it at home is adequate I guess. I’ll probably have to watch Silence of the Lambs again, but unlike that film, this one is purely visual from start to finish. These switches symbolize Garrison’s awakening about the logical gaps within the Warren Commission’s report about the titular president’s assassination. The film uses different film stocks and resolutions, sometimes switching quickly from black and white to show when and where the different parts of the story happen. It’s like watching Bertolucci, as if light had its own weight.

He’s committing to the lion’s share of the research even if he has a growing and diverse team, discovering a plot involving Cubans, CIA agents covering as businessmen (Tommy Lee Jones arguably turns the clock back on gay people two decades at the most) and meddling generals.

The middle section holds a lot of the film’s flaws as it gives a few weak cast members their five minutes to shine and no, I’m not talking about John Candy, who acts as if he’s in a noir, which this movie arguably could be. But it breaks my heart to say that I wasn’t a big fan of Jack Lemmon here, that Kevin Bacon tries too hard in a bit part that Brad Pitt would have, pardon the tacky pun, executed effortlessly, that Donald Sutherland can’t pull off everything in his ‘Black Ops’ soliloquy or that Joe Pesci, despite on a good subtle start, seems to ruin all but one movie that he’s in with his overacting.

Despite of that, the movie has its victories despite the cynicism and nihilism that my generation’s attitudes have that goes against the Kennedys, violence and the film’s Arcadian view of 1963 America that the film mostly succeeds to push. That we have Southern characters who aren’t prejudiced against gays and other ‘minority groups.’ ‘That  Garrison and his wife reconcile after Robert Kennedy’s assassination. Hey, it happens.

He has a rough start, sometimes going out-of-order. But Garrison eventually begins his arguments, showing the Zapruder tape (a chilling reenactment by and with Stone), the flaws and inaccuracies within the magic bullet theory (I’m pretty sure that, just like the rest of my generation, that I’ve seen the “Seinfeld” parody before the real thing) and Lee Harvey Oswald’s (Gary Oldman playing a regular person) time line and quoting Thoreau like demagogues do until we realize that this movie just made us listen to Kevin Costner for thirty straight minutes. I don’t mind, it’s relentless in a good way. Costner doesn’t change his tone for that half hour, only breaking down at the last few minutes. He instead lets the facts speak for themselves, thus giving a generous and altruistic performance. I’ve never loved him as an actor, but this last scene made me believe that the marquee should have his name back.

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