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Behind The Screens

by Jon Waterman
Volume 1, Issue 2
Volume 1, Issue 1
Special Features
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FILMBRATS - REVIEWS

The Fog of War (****)
review by Jon Waterman

Former Secretary of Defense Robert McNamara sits down to discuss his tenure with documentary director Errol Morris. McNamara describes the various lessons he’s learned about business and war during the tense times in which he presided. Being a key player in the Cuban missile crisis and the majority of the Vietnam War and part of the Cold War, he’s worked with many different leaders around the world and domestically. He’s learned his lessons and willing to take credit for the bad and the good.

McNamara gives us great insight into how he dealt with the problems of the day. He speaks in a very intelligent, concise and logical manner. You can tell he’s learned a lot over the years and through the harrowing experiences he helped manage. What is amazing is his willingness to talk so candidly about what could be perceived as sensitive material. He clues us in on just how close of a call the missile crisis truly was and even on how the Vietnam War might have been prevented. This once controversial official talks succinctly and honestly, in order to aide the populous’ understanding of the complexity of politics and the importance of applying historical lessons learned.

In addition to the fascinating content of the interview, Morris has a very distinct style to his films. The most obvious aspect is the subjects look directly into the camera. Not only does it connect more personally to the audience, but also you get a better sense of their internal character and emotions. It’s easier to read their eyes and body language, since it’s more conversational. Another welcomed standard of his are the great supporting visuals. Morris is not content to shoot just the interview. He uses archival footage and audio recordings to increase the credibility of McNamara’s claims. He also works with great cinematographers Robert Chappell and Peter Donahue to produce supporting visuals that either reenact moments or place the ideals in metaphorical context. We also get a typically hokey, yet surprisingly appropriate score – this time by Phillip Glass. The result is a characteristic Errol Morris film that is enthralling, informative and assuredly his own.

It struck me to see this man whose will and determination had to be so strong and rigid, sitting down and looking directly into the camera. He appeared fragile and beaten. We’re taught to respect our elders and learn from their wisdom, but how many of us actually take the time to do so? In his face and his responses there’s almost a desperation coming out for someone to listen and take advantage of his many tense experiences. For most of us watching the film, we won’t get much chance to apply these lessons to better our nation, but at least we can look for elected officials that embody these qualities.

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