As part of the Conversation Series, I’ll be speaking with certain contributors about certain movies at certain times.
Zach Schonfeld is a “writer” living in “Brooklyn.” He is currently a reporter for Newsweek Magazine and studied English and American Studies at Wesleyan University, for which we’re all very proud.
We spoke at length about Oliver Stone’s 1991 masterpiece, JFK. Here’s Part II. Part I can be found here.
SS: Right, right. So the acting in this movie is superb. The cast of characters…if you recommend this movie to someone or you speak to anybody about JFK, you could read down a list of actors who have either won awards or have been lauded as landmarks within film. Let’s take a look: Kevin Costner, Tommy Lee Jones, Gary Oldman, who play a very off-kilter…
ZS: Yeah, and I didn’t even realize that was Gary Oldman…
SS: He’s a total chameleon.
ZS: Right, but you never actually hear him speak; he’s just black-and-white footage and pops up.
SS: I mean, Kevin Costner had just come off a huge performance in Dances With Wolves a year before [1990’s Best Picture winner], so it gave the audience a name recognition and a draw to see the movie. It won 7 Oscars and now he’s in a movie crafted by Oliver Stone, who we [the audience] knows as a very overtly dramatic and very specific and very dynamic director. And you look down the card and you see other names, I mean Kevin Bacon has a very small role, but it’s a pivotal role. We as an audience, now 25 years later, have a connection to these actors who were just gaining fame at the time or maybe some were in the middle of their careers and now the movie has held up a. because the subject matter is compelling and b. because the acting is stunning. I thought it was a very compelling three hours…
ZS: Oh yeah, that’s another thing that Roger Ebert writes about, that it’s just an insanely fast-moving and entertaining movie because the longer it goes on, the more entranced you are by this web of characters and evidence and it does a very strong job or channeling his [Garrison’s …or Stone’s?] obsession and makes you feel it, too. Any good mystery film is like that.
SS: It’s a tough thing to pull off – the theatrical cut is three hours and eight minutes and Director’s Cut, on top of that (and at this point, if you’re going to commit 188 minutes, you may as well commit the extra half an hour), is around 208 minutes.
ZS: I think the Director’s Cut was the version I watched, but it did not seem that long. It did not feel like it was three hours.
SS: What do you think about the shift in tone as the first part of the movie where we go through and we meet this character, we meet Jim Garrison and it goes through his investigation and these theories that keep popping up and then we actually see the courtroom drama. It turns into a courtroom drama, which is a completely different style of film. It doesn’t seem out-of-place and yes, we want to see this. What did you think about including this? It could have faded out 45 minutes earlier and ended with a parting shot that Clay Shaw trial was this and this and this and read the, “where are they now,” bit. And it does this…after the fact. Continue reading