Captain Phillips + J. Edgar

I've been suffering from a a splitting headache since Friday. It has something to do with our recent weather here. Some sort of odd pressure system. The mornings begin packed with fog, which then burns off by afternoon, leaving us with bright sunshine. While I have experienced sunny January days in the past during my 20 years in the Emerald City, what is unusual is the fog. Our fall was also unusual in that there were two straight weeks of  these foggy mornings followed by sunny afternoons. Puget Sound area autumns after October are normally just wet and dark.

In any event, waking up with a splitting headache each morning for the last three days does not lend itself to sitting in front of a monitor typing at a keyboard. Today, the cabeza feeling a little better, I'll attempt to get caught up with some posts.

First, some quick-hitters on movies I have seen recently. After viewing all seasons of Breaking Bad in order and then polishing off Luther (Series 3), I decided to watch some feature-length Hollywood film. It is always helpful in terms of ascertaining the spirit of an age to see what is being extruded by the dream machine. I used to have this as a regular feature of the blog, a Sunday-morning comment on whatever recently-released-to-DVD Hollywood film that I had streamed from Amazon the night before. But then Amazon raised its prices and its offerings shrank. So I stopped watching movies and stuck with streaming cable television series like Spartacus and Homeland.

Last night I watched Captain Phillips (2013), starring Tom Hanks and directed by Paul Greengrass. Greengrass catapulted to stardom based on his directorial work on The Bourne Supremacy (2004), the second installment in the Bourne film franchise. Captain Phillips follows the docudrama format of the film Greengrass completed after The Bourne Supremacy, United 93 (2006).

United 93 was a good film, though it buffed up the national security machinery to look like an expensive car commercial. Captain Phillips is not so good. The performances of the Somali pirates are superb (Barkhad Abdi has been nominated for an Academy Ward for his portrayal of Muse the pirate captain).

While there are vague references as to the reasons why the Somali youth are pirates -- they are cogs in a larger criminal enterprise; their waters have been fished out by corporate factory trawlers -- this film in the end is nothing more than an advertisement for the U.S. Navy.

An elite G.I. Joe team of Navy Seals (they're clean cut this time; no beards and keffiyeh as in Zero Dark Thirty) parachute in and mop up the mess with their cutting-edge technology and their deadly sniper rifles. The darkies are made to go bye-bye in a spray of blood, and the traumatized Tom Hanks/Captain Phillips ends the film being ministered to by a beautiful, strong, angelic, milk-fed Navy medic in an immaculate emergency room aboard the destroyer USS Bainbridge. You see, all is right in the world. American military might bestrides the globe.

If you want to see a better Greengrass film, see Bloody Sunday (2002).

Friday night I suffered through the first half of J. Edgar (2011) -- the dark, torpid Hoover bio-drama directed by Clint Eastwood and starring Leonardo DiCaprio -- before throwing in the towel because of my headache. I resumed the following morning in the dark. The movie hopscotches back and forth in time from the Palmer Raids to JFK's assassination to the Lindbergh kidnapping to Hoover's campaign against MLK, Jr. to his gangster wars campaign of the 1930s  The movie is bloodless with no coherent statement about Hoover's FBI and the role it played in America.

Hoover's COINTELPRO; his role in sculpting the Warren Commission Report; his close association with organized crime bigwigs and right-wing captains of industry -- all go completely unmentioned or are alluded to only in passing.

Mostly this movie is a gay love story. The lovers are J. Edgar and his abused companion, Associate Director of FBI Clyde Tolson. It is as if Eastwood shelves good storytelling in order to out the paranoid, megalomaniac, top lawman commie fighter as nothing but a poor queer.

Don't see this movie.

Errol Morris' Short Film on Josiah Thompson

The best case for the existence of a conspiracy to kill John F. Kennedy, one that deviates from the official version of a lone gunman that is memorialized  in the Warren Commission report, is still the photographic evidence taken that day from bystanders in Dealey Plaza in Dallas, particularly the Zapruder film.

Today on its web site the New York Times publishes a short film by Errol Morris, "November 22, 1963." Morris interviews Josiah Thompson, author of an early and extremely influential book on the Kennedy assassination, Six Seconds in Dallas (1967).

Thompson's argument is simple a one. Look at the pictures -- just look at them -- of the assassination. The conclusion one must come to is that the kill shot came from the front and to the right of the motorcade as it drove down Elm Street, the area that is known as the grassy knoll. This means that the conspiracy theorists are correct because the Warren Commission's official conclusion is that the only gunman was Lee Harvey Oswald who made an impossibly difficult kill shot with a junk Italian rifle from his perch on the sixth floor of the Texas School Book Depository.

I immersed myself in the Kennedy assassination for a couple of years. I did so from the perspective of Deconstruction and the idea that everything is textual, everything -- for us to know it -- is written. So what was the "Moby Dick" of all that Kennedy assassination literature trying to say?

The photographic documentation alone compels one to accept that there was a conspiracy to assassinate Kennedy. After spending time with the literature I arrived at the working hypothesis based on the simple but necessary question "cui bono?" that LBJ was involved in the conspiracy. LBJ handpicked the Warren Commission. The Warren Commission relied on J. Edgar Hoover's FBI for its research and documentation in formulating its lone gunman theory. LBJ and J. Edgar were good buddies whose careers both benefited from Kennedy's departure. Both were buddies of proto-Tea Partier Texas oil mogul Clint Murchison, Sr.

To flesh out the nature of the LBJ "cui bono?" I looked at the TFX contract investigation. All the major Congressional investigations of the Kennedy administration -- Billie Sol Estes, TFX, and Bobby Baker -- track back to LBJ. The answer to who benefited with Kennedy out of the way is obvious.

Check out Errol Morris' film on Josiah Thompson. It's dynamite.