A Filmmaker's Guide to: “JFK” (1991)

In this chapter of ‘the filmmaker’s guide’ we are going to explore some of the films that have changed our outlook of the possibilities in cinema in some way, shape or form. These can include, but are not limited to: revolutionary cinematography, narratives that challenge the social structure and the common view, trademark styles of auter cinema, brilliant adaptations of novels and other works, films of philosophical value and films that touch our hearts and souls with their incredible underlying messages and morals. Within each of the films in this chapter there is a certain something that makes them special and a certain something that makes them linger long after we have watched them for the first time. Lasting impressions are difficult to create, but I think that the films we will briefly touch on in this chapter are some of the films we will never ever forget.

JFK (1991) dir. by Oliver Stone

Oliver Stone is one of my personal favourite directors, I recently even purchased a signed copy of his autobiography “Chasing the Light” - and it was incredible to read by the way. “JFK” (1991) became one of my favourite films very quickly since I watched it for the first time when I was about sixteen years’ old. The way it was made, the courtroom drama and the montage at the beginning all seemed entirely surreal to me. The way the montage almost fades itself into the movie and the way that various scenes are filmed over others. For example: the voice-over of one scene being played against the visuals of a scene from the not-too-distant past. It is a classic Oliver Stone technique and it made for a masterpiece of a film. Yes, the film is long and often people will say it’s a bit ‘too long’ but seriously, it is well worth the watch and the re-watch. It is a brilliant example of high drama and high stake cinema and I was actually surprised that it didn’t win Best Picture at the Oscars of the following year. But, it will always be remembered at raising the stakes for high drama and courtroom cinema.

Released on the 20th of December, 1991, there are actually two versions of the film obviously, the director’s cut is the one you want. It is 206 minutes of intense drama with the mental stability of protagonist Jim Garrison on the line as he uncovers more and more folds in the Kennedy Assassination. The cast is absolutely incredible and every cast member plays a real person. Kevin Costner portrays protagonist Jim Garrison and Gary Oldman plays the ‘assassin’, Lee Harvey Oswald. This movie is filled with facts and the people who carried them. But I think that the best thing about the cast is that if you look closely at the scenes with the Warren Report being written you will clearly see that the man who portrays Earl Warren is none other than the real man himself, Jim Garrison.

In the following year, “JFK” (1991) was nominated for many Academy Awards including Best Picture and Best Cinematography, Best Director for Oliver Stone, Best Actor in a Supporting Role for Tommy Lee Jones and even Best Adapted Screenplay for Oliver Stone as well. It ended up winning in the cinematography and sound department, only just losing out on the others. But, the Golden Globe for Best Director was won by Oliver Stone and the various sound and editing BAFTA Awards were won for “JFK” (1991) as well.

The legacy of “JFK” (1991) is that is set the bar for many courtroom dramas in the years to come. It became one of the most famous films about an American President and started a line of three films about the presidency for Oliver Stone, from which “JFK” (1991) remains the best-selling. These included: “Nixon” (1995) starring Sir Anthony Hopkins in the lead role as the 37th President of the USA and “W” (2008) with Josh Brolin portraying former President George W. Bush. However, not only will “JFK” (1991) remain the most famous of the three, it will also remain one of the greatest movies made by Oliver Stone after his famed Best Picture winner, Platoon (1987). “JFK” (1991) truly is one of the greatest films ever made in my opinion.

Oh and did I mention that it was this film that was responsible for the disclosure act on JFK's assassination the next year? Yes it was.

“Well, that's the real question, isn't it? Why? The 'How' and the 'Who' is just scenery for the public. Oswald, Ruby, Cuba, the Mafia, keeps 'em guessing like some kind of parlour game. Prevents 'em from asking the most important question: Why? Why was Kennedy killed? Who benefited? Who has the power to cover it up? Who?...

The organising principle of any society, Mr. Garrison, is for war. The authority of the state over its people resides in its war powers. And Kennedy wanted to end the Cold War in his second term. He wanted to call off the moon race in favour of cooperation with the Soviets. He signed a treaty with the Soviets to ban nuclear testing. He refused to invade Cuba in 1962 and he set out to withdraw from Vietnam. But all of that ended on the 22nd of November, 1963. As early as 1961, they knew Kennedy was not going to war in Southeast Asia. Like Caesar, he is surrounded by enemies and something's underway, but it has no face. Yet everybody in the loop knows...

Everything is cellularised. No one has said, 'He must die.' There's been no vote. Nothing's on paper. There's no one to blame. It's as old as the crucifixion. A military firing squad: five bullets, one blank. No one's guilty, because everyone in the power structure who knows anything has a plausible deniability. There are no compromising connections except at the most secret point. But what's paramount is that it must succeed. No matter how many die, no matter how much it costs, the perpetrators must be on the winning side and never subject to prosecution for anything by anyone. That is a coup d’état…."

- “X”, “JFK” (1991)

Now please enjoy my favourite scene from this movie: