After hearing that President John F. Kennedy said "if I do not get at least a strange piece of ass everyday, I will have a migraine headache," it is almost painstakingly difficult to render a serious response to this blog inquiry. I will muster what analytical prowess I can in the spirit of completing this entry.
There is little secret regarding the power players, perfunctory cruelty and ruthlessness that the Kennedy administration often demonstrated. The film "Thirteen Days," however, does not adequately address said matters. The "sin of omission," while probably referenced by the more Republican or conservative viewership of the "B-" rate film, as underscoring an inherent liberal bias is undoubtedly done more for portraying the relevant and salient historical aspects of the military and diplomatic crisis that unfolded in 1962, than any deliberate attempt to further romanticize "Camelot."
Like many cases of artistic liberty, it is easy and rather mindless to criticize the proclivity of a film rather than to cite a production's true to period commitment. In this respect, there is one blatant misrepresentation within the film, the depiction of Laurence O' Donnell is misguided provided that the real-life character was charged with "prostitute procurement" for President Kennedy. The movie unnecessarily elevates the aforementioned character, much like Kennedy in other media, to the status of a devout Catholic-neglecting to mention the individual's morally questionable activities. This particular "liberty," surprised me because nothing makes for a more interesting and audience-entertaining story line than a politician chasing hookers for an venerated public figure. Credit should be given to the film's director and writer's for not taking the routine "low road," of Hollywood and maintaining a dedication to 'mostly' historical fact. The film, in all honesty, could have easily ventured into smut land-given the dastardly material that the Kennedy administration unknowingly generated for latter production value.
In terms of the depiction of the military within the film, according to my reference of administration documents, the portrayals are largely accurate. Secretary of Defense Robert McNamara, as shown in the film, was strong-willed and opposed to any interference or attempt at military direction without explicit "permission" of the president. To this end, McNamara allayed the sort of additional "shot over the bow" incidents ordered by other defense personnel-primarily, the Naval chief.
I was actually surprised that some moments of tense "pissed off" shots were shown regarding Kennedy. My expectation was that Kennedy would have continuously been idealized as the type of perpetually equable mind that many previous films and literature have falsely attributed to him. There is a certain reassuring humanity in knowing that in the midst of a national crisis the president of the United States remains demonstrative of real, powerful humanistic sentiments of which we can all relate to on an inferior stress scale.
"Thirteen Days," was actually directed and written utilizing "The Kennedy Tapes - Inside the White House During the Cuban Missile Crisis," an actual account of events within the Oval Office penned by Ernest May and Philip Zelikow. Analyzing the film and comparing it side by side with actual developments-though omissions were perpetrated, suggests a movie of unusual historical commitment.
Sure, "Thirteen Days" has its way with some minor historical facts, but if it were all real one thing is more certain than taxes and death, even fewer Americans than already did would have gone to see its cinematic debut.
Corey Scott-Vincent-William Dutra
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