JFK (film)

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JFK

Theatrical poster
Directed by Oliver Stone
Produced by A. Kitman Ho
Oliver Stone
Written by Screenplay:
Oliver Stone
Zachary Sklar
Book (On the Trail of the Assassins):
Jim Garrison
Book (Crossfire: The Plot That Killed Kennedy):
Jim Marrs
Starring Kevin Costner
Tommy Lee Jones
Gary Oldman
Joe Pesci
Sissy Spacek
Jack Lemmon
Donald Sutherland
Music by John Williams
Cinematography Robert Richardson
Editing by Joe Hutshing
Pietro Scalia
Studio Regency Enterprises
Le Studio Canal +
Alcor Films
Ixtlan Corporation
Distributed by Warner Bros.
Release date(s) December 20, 1991
Running time 189 minutes
Director's Cut:
205 minutes
Country United States
Language English
Budget $40,000,000
Gross revenue $205,400,000 (worldwide)

JFK is an American film directed by Oliver Stone and released on December 20, 1991. It examines the events leading to the assassination of President John F. Kennedy and alleged subsequent cover-up, through the eyes of former New Orleans district attorney Jim Garrison (played by Kevin Costner). Garrison filed charges against New Orleans businessman Clay Shaw (Tommy Lee Jones) for his alleged participation in a conspiracy to assassinate the President. The film was adapted by Stone and Zachary Sklar from the books On the Trail of the Assassins by Jim Garrison and Crossfire: The Plot That Killed Kennedy by Jim Marrs. Stone described his fictionalized film as a "counter-myth" to the "myth" of the Warren Commission.

The film became embroiled in controversy even before it was finished filming, after Washington Post national security correspondent George Lardner showed up on the set. Based on the first draft of the screenplay, he wrote a scathing article attacking the film. Upon JFK's theatrical release, many major American newspapers ran editorials criticizing what they perceived as liberties that Stone took with historical facts, including the film's implication that President Lyndon B. Johnson was part of a coup d'etat to kill Kennedy. After a slow start at the box office, Stone's film gradually picked up momentum, earning over $205 million in worldwide gross. Garrison's estate subsequently sued Warner Bros. for a share of the film's profits, alleging a bookkeeping practice known as "Hollywood accounting". JFK went on to win two Academy Awards and was nominated for eight in total, including Best Picture.

Contents

[edit] Synopsis

The film opens with newsreel footage, including the farewell address in 1961 of outgoing President Dwight D. Eisenhower, warning about the build-up of the "military-industrial complex". This is followed by a summary of John F. Kennedy's years as president, emphasizing the events that, in Stone's thesis, would lead to his assassination. This builds to a reconstruction of the assassination on November 22, 1963. New Orleans District Attorney Jim Garrison (Kevin Costner) subsequently learns about potential links to the assassination in New Orleans. Garrison and his team investigate several possible conspirators, including private pilot David Ferrie (Joe Pesci), but are forced to let them go after their investigation is publicly rebuked by the federal government. Kennedy's suspected assassin Lee Harvey Oswald (Gary Oldman) is killed by Jack Ruby (Brian Doyle Murray) before he can go to trial, and Garrison closes the investigation.

The investigation is reopened in 1966 after Garrison reads the Warren Report and notices what he believes to be multiple inaccuracies. Garrison and his staff interrogate several witnesses to the Kennedy assassination, and others involved with Oswald, Ruby, and Ferrie. One such witness is Willie O'Keefe (Kevin Bacon), a male prostitute serving five years in prison for soliciting, who reveals he witnessed Ferrie discussing a coup d'état. As well as briefly meeting Oswald, O'Keefe was romantically involved with a man called "Clay Bertrand". Jean Hill (Ellen McElduff), a teacher who says she witnessed shots fired from the grassy knoll, tells the investigators that Secret Service threatened her into saying three shots came from the book depository, revealing changes that were made to her testimony by the Warren Commission. Garrison's staff also test the single bullet theory by aiming an empty rifle from the window through which Oswald was alleged to have shot Kennedy. They conclude that Oswald was too poor a marksman to make the shots, indicating someone else, or multiple marksmen, were involved.

Garrison meets a high-level figure in Washington D.C. who identifies himself as "X" (Donald Sutherland). He suggests a conspiracy at the highest levels of government, implicating members of the CIA, the Mafia, the military-industrial complex, Secret Service, FBI, and Kennedy's vice-president Lyndon Baines Johnson as either co-conspirators or as having motives to cover up the truth of the assassination. X explains that the President was killed because he wanted to pull the United States out of the Vietnam War and dismantle the CIA. X encourages Garrison to keep digging and prosecute New Orleans based international businessman Clay Shaw (Tommy Lee Jones) for his alleged involvement. Upon interrogating Shaw, the businessman denies any knowledge of meeting Ferrie, O'Keefe or Oswald, but he is soon charged with conspiring to murder the President.

Some of Garrison's staff begin to doubt his motives and disagree with his methods, so they leave the investigation. Garrison's marriage is strained when his wife Liz (Sissy Spacek) complains that he is spending more time on the case than with his own family. After a sinister phone call is made to their daughter, Liz accuses Garrison of being selfish and attacking Shaw only because of his homosexuality. In addition, the media launches attacks on television and in newspapers attacking Garrison's character and criticizing the way his office is spending taxpayers' money. Some key witnesses become scared and refuse to testify while others, such as Ferrie, are killed in suspicious circumstances. Before his death, Ferrie tells Garrison that he believes people are after him, and reveals there was a conspiracy around Kennedy's death.

The trial of Clay Shaw takes place in 1969. Garrison presents the court with further evidence of multiple killers and dismissing the single bullet theory, but the jury acquits Shaw after less than one hour of deliberation. The film reflects that members of that jury stated publicly that they believed there was a conspiracy behind the assassination, but not enough evidence to link Shaw to that conspiracy. Shaw died of lung cancer in 1974, but in 1979 Richard Helms testified that Clay Shaw had been a part-time contact of the Domestic Contacts Division of the CIA. The end credits claim that records related to the assassination will be released to the public in 2017. Controversy incited by the film led to the creation of the Assassination Records Review Board, which released virtually all such documents.

[edit] Cast

Kevin Costner stars as Jim Garrison. For the role, Stone sent the copies of the script to Kevin Costner, Mel Gibson, and Harrison Ford.[1] Initially, Costner turned Stone down. However, the actor's agent, Michael Ovitz, was a big fan of the project and helped the director convince the actor to take the role.[1] Before accepting the role, Costner conducted extensive research on Garrison including meeting the man, his friends and enemies. Two months after finally signing on to play Garrison in January 1991, his film Dances with Wolves won seven Academy Awards and so his presence greatly enhanced JFK's bankability in the studio's eyes.[2]

Tommy Lee Jones as Clay Shaw/Clay Bertrand. Jones was originally considered for another role that was ultimately cut from the film and it was Stone who decided to cast the actor as Shaw.[3] In preparation for the film, Jones interviewed Garrison on three different occasions and talked to others who had worked with Shaw and knew him.[4]

Gary Oldman as Lee Harvey Oswald, a former United States Marine who defected to the Soviet Union and later returned. He was arrested on suspicion of killing Dallas police officer J. D. Tippit. According to Oldman, very little was written about Oswald in the script. Stone gave him several plane tickets, a list of contacts and told to him to do his own research.[5] The actor met with Oswald's wife, Marina and her two daughters to prepare for the role.[6]

Joe Pesci as David Ferrie. Stone originally wanted James Woods to play Ferrie but he wanted to play Garrison and so Willem Dafoe and John Malkovich were approached. They both turned down the role.[7]

Many actors were willing to waive their normal fees because of the nature of the project and to lend their support.[7] Martin Sheen provided the opening narration. The real Jim Garrison, a severe critic of the Warren Commission, ironically played Supreme Court Chief Justice Earl Warren himself, during the scene in which he questions Jack Ruby in prison about his retrial. Supposed assassination witness Beverly Oliver, who claimed to be the Babushka lady, also appeared in a cameo role. Sean Stone, Oliver Stone's son, plays a secondary role as Garrison's oldest son Jasper.

[edit] Production

Zachary Sklar, a journalist and a professor of journalism at the Columbia School of Journalism, met Jim Garrison in 1987 and helped him rewrite a manuscript that he was working on about the Kennedy assassination. He changed it from a scholarly book in the third person to "a detective story—a whydunit" in the first person.[8] Sklar edited the book and it was published in 1988. While attending the Latin American Film Festival in Havana, Cuba, Stone met Sheridan Square Press publisher Ellen Ray on an elevator. She had published Jim Garrison's book On the Trail of the Assassins.[9] Ray had gone to New Orleans and worked with Garrison in 1967. She gave Stone a copy of Garrison's book and told him to read it.[10] He did and quickly bought the film rights with $250,000 of his own money to prevent talk going around the studios about projects he might be developing.[11]

The Kennedy Assassination had always had a profound effect on Stone: "The Kennedy murder was one of the signal events of the postwar generation, my generation".[10] The filmmaker met Garrison and grilled him with a variety of questions for three hours. The man stood up to Stone's questioning and then got up and left. His hubris impressed the director.[12] Stone's impressions from their meeting were that Garrison "made many mistakes. He trusted a lot of weirdoes and followed a lot of fake leads. But he went out on a limb, way out. And he kept going, even when he knew he was facing long odds".[13]

Stone was not interested in making a film about Garrison's life but rather the story behind the conspiracy to kill Kennedy. He also bought the film rights to Crossfire: The Plot That Killed Kennedy by Jim Marrs. One of the filmmaker's primary goals with JFK was to provide a rebuttal to the Warren Commission Report that he believed was "a great myth. And in order to fight a myth, maybe you have to create another one, a countermyth".[14] Even though Marrs’ book collected many theories, Stone was hungry for more and hired Jane Rusconi, a recent Yale University graduate, to head up a team of researchers and assemble as much information about the assassination as possible while the director completed post-production on Born on the Fourth of July. Stone read two dozen books on the JFK assassination while Rusconi read between 100 to 200 books on the subject.[15]

By December 1989, Stone began approaching studios to back his film. While in pre-production on The Doors, he met with three executives at Warner Bros. who wanted him to make a film about Howard Hughes.[16] However, Warren Beatty owned the rights and so Stone pitched JFK. Studio president and Chief Operating Officer Terry Semel liked the idea. He had a reputation for making political and controversial films with All the President's Men, The Parallax View and The Killing Fields.[17] Stone made a handshake deal with Warner Bros. whereby the studio would get all the rights to the film and put up 20 million dollars for the budget. The director did this so that the screenplay would not be widely read and bid on, and he also knew that the material was potentially dangerous and wanted only one studio to finance it. Finally, Stone liked Semel's track record of producing political films.[17]

[edit] Screenplay

When Stone set out to write the screenplay, he asked Sklar (who also edited Marrs’ book) to co-write it with him and distill the Garrison book, the Marrs book and Rusconi's research into a script that would resemble what he called "a great detective movie".[18] Stone told Sklar his vision of the film: "I see the models as Z and Rashomon, I see the event in Dealey Plaza taking place in the first reel, and again in the eighth reel, and again later, and each time we're going to see it differently and with more illumination".[8] Although he did employ ideas from Rashomon, his principal model for JFK was Z: "Somehow I had the impression that in Z you had the showing of the crime and then the re-showing of the crime throughout the picture until it was seen another way. That was the idea of JFK – that was the essence of it: basically, that's why I called it JFK. Not J dot F dot K dot. JFK. It was a code, like Z was a code, for he lives, American-style. As it was written it became more fascinating: it evolved into four DNA threads".[19] Stone broke the structure of his film down into four stories: Garrison investigating the New Orleans connection to the Kennedy assassination; the research that revealed what Stone calls, "Oswald legend: who he was and how to try to inculcate that"; the recreation of the assassination at Dealey Plaza; and the information that the character of X imparts on Garrison, which Stone saw as the "means by which we were able to move between New Orleans, local, into the wider story of Dealey Plaza".[20]

Sklar worked on the Garrison side of the story while Stone added the Oswald story, the events at Dealey Plaza and the "Mr. X" character.[18] Sklar spent a year researching and writing a 550 triple-spaced page screenplay and then Stone rewrote it and condensed it closer to normal screenplay length. Stone and Sklar used composite characters, most notably the "Mr. X" character played by Donald Sutherland. This was a technique that would be criticized in the press.[21] He was a mix of several witnesses and retired Air Force colonel Fletcher Prouty, another adviser for the film and who was a military liaison between the CIA and the Pentagon. Meeting Prouty was, for Stone, "one of the most extraordinary afternoons I've ever spent. Pretty much like in the movie, he just started to talk".[22] According to Stone, "I feel this was in the spirit of the truth because Garrison also met a deep throat type named Richard Case Nagell, who claimed to be a CIA agent and made Jim aware of a much larger scenario than the microcosm of New Orleans".[23]

Early drafts of the screenplay suggested a four and a half-hour film with a potential budget of $40 million—double what Stone had agreed to with Warner Bros.[24] The director knew film mogul Arnon Milchan and met with him to help finance the film. Milchan was eager to work on the project and launch his new company, Regency Films, with a high profile film like JFK.[25] Milchan made a deal with Warner Bros. to put up the money for the film. Stone managed to pare down his initial revision, a 190-page draft, to a 156-page shooting script.[26]

There were many advisers for the film, including Gerald Hemming, a former Marine who claimed involvement in various CIA activities, and Robert Groden, a photographic expert and longtime JFK assassination researcher and author.[27]

[edit] Principal photography

The story revolves around Costner's Jim Garrison, with a large cast of well-known stars in the supporting roles. Stone was inspired by the casting model of the documentary epic The Longest Day which he had admired as a child: "It was realistic, but it had a lot of stars...the supporting cast provides a map of the American psyche: familiar, comfortable faces that walk you through a winding path in the dark woods".[2]

Cinematographer Robert Richardson was a week and a half into shooting City of Hope for John Sayles when he got word that Stone was thinking about making JFK. By the time principal photography wrapped on City of Hope, Richardson was ready to make Stone's film. To prepare, Richardson read up on various JFK assassination books starting with On the Trail of the Assassins and Crossfire: The Plot That Killed Kennedy.[28]

The original idea was to film the opening sequence in 1.33:1 aspect ratio in order to simulate the TV screens that were available at the time of the assassination, then transition to 1.85:1 when Garrison began his investigation, and finally switch to 2.35:1 for scenes occurring in 1968 and later. However, because of time constraints and logistics, Richardson was forced to abandon this approach.[28]

Stone wanted to recreate the Kennedy Assassination in Dealey Plaza. His producers had to pay the Dallas City Council a substantial amount of money to hire police to reroute traffic and close streets for three weeks.[29] He only had ten days to shoot all of the footage he needed and so he used seven cameras (two 35 mm and five 16 mm) and 14 film stocks.[28] Getting permission to shoot in the Texas School Book Depository was more difficult. They had to pay fifty thousand dollars to put someone in the window that Lee Harvey Oswald was supposed to have shot Kennedy from.[29] They were allowed to film in that location only between certain hours with only five people on the floor at one time: the camera crew, an actor, and Stone. Co-producer Clayton Townsend has said that the hardest part was getting the permission to restore the building to the way it looked back in 1963. It took five months of negotiation.[29]

The production spent four million to restore Dealey Plaza to 1963 conditions.[30] Stone utilized a variety of film stocks. Richardson said, "It depends whether you want to shoot in 35 or 16 or Super 8. In many cases the lighting has to be different".[31] For certain shots in the film, Stone employed multiple camera crews shooting at once, using five cameras at the same time in different formats. Richardson said of Stone's style of direction, "Oliver disdains convention, he tries to force you into things that are not classic. There's this constant need to stretch".[28] This forced the cinematographer to use lighting in diverse positions and relying very little on classic lighting modes. The shoot lasted 79 days with filming finished five months before the release date.[32]

[edit] Editing

JFK marked a fundamental change in the way that Stone constructed his films: a subjective lateral presentation of the plot, with the rhythm of the editing carrying the story.[33] Stone brought in Hank Corwin, an editor of commercials, to help edit the film. Stone chose him because his "chaotic mind" was "totally alien to the film form".[33] Stone remembers that Corwin irritated the more traditional editors working on the film because his "concepts are very commercial sixty-seconds-get-your-attention-fragment-your-mind-make-you-rethink-it. But he had not developed the long form yet. And so a lot of his cuts were very chaotic".[33] Stone employed extensive use of flashbacks within flashbacks for a specific effect. He said in an interview, "I wanted to do the film on two or three levels—sound and picture would take us back, and we'd go from one flashback to another, and then that flashback would go inside another flashback...I wanted multiple layers because reading the Warren Commission Report is like drowning".[15] This film was Stone's last one to use editing on film before he switched to digital editing. A setback occurred during editing that saw all the time codes disappear.[33]

[edit] Music

For the soundtrack listing, see JFK (soundtrack).

Composer John Williams composed and conducted six musical sequences in full for JFK before he saw the entire film.[34] Soon after recording this music, he traveled to New Orleans where Stone was still shooting the film and saw approximately an hour's worth of edited footage and some dailies. Williams remembers, "I thought his handling of Lee Harvey Oswald was particularly strong, and I understood some of the atmosphere of the film – the sordid elements, the underside of New Orleans".[34] Stone cut the film to Williams' music after the composer had scored and recorded musical cues in addition to the initial six he had done prior to seeing the film. For the Motorcade sequence, Williams described the score he composed as "strongly kinetic music, music of interlocking rhythmic disciplines".[34] The composer remembered the moment he learned of the assassination of Kennedy and it stuck with him for years. This was a significant factor in his deciding to work on the film. Williams said, "This is a very resonant subject for people of my generation, and that's why I welcomed the opportunity to participate in this film".[34]

[edit] Reception

[edit] Critical reaction

Filming was going smoothly until several attacks on the film and Stone began to surface in the media. On May 14, 1991, Jon Margolis in the Chicago Tribune wrote that JFK was "an insult to the intelligence".[35] This article was published while the film was only in its first weeks of shooting. Five days later, the Washington Post ran a scathing article by national security correspondent George Lardner entitled, "On the Set: Dallas in Wonderland" that used the first draft of the JFK screenplay to blast it for "the absurdities and palpable untruths in Garrison's book and Stone's rendition of it".[36] The article pointed out that Garrison lost his case against Clay Shaw and claimed that he inflated his case by trying to use Shaw's homosexual relationships to prove guilt by association.[36] Stone responded to Lardner's article by hiring a public relations firm that specialized in political issues. Other attacks in the media soon followed. Anthony Lewis in the New York Times claimed that the film "tells us that our government cannot be trusted to give an honest account of a Presidential assassination".[35] Washington Post columnist George Will attacked Stone, calling him, "a man of technical skill, scant education and negligible conscience".[35]

Time magazine ran their own critique of the film-in-progress on June 10, 1991 and claimed that Stone was trying to suppress a rival JFK assassination film based on Don DeLillo's 1988 novel Libra. Stone rebutted these claims in a letter to the magazine.[37] The filmmaker ended up splitting his time between making his film, responding to attacks from the press, and conducting a publicity campaign of his own that saw him "omnipresent, from CBS Evening News, to Oprah".[33] However, the Lardner Post piece stung the most because he had stolen a copy of the script. Stone recalls, "He had the first draft, and I went through probably six or seven drafts".[37]

Once the film was released in theaters, it polarized critics. The New York Times ran an article by Bernard Weinraub entitled, "Hollywood Wonders If Warner Brothers let JFK Go Too Far". In it, he called for studio censorship and wrote, "At what point does a studio exercise its leverage and blunt the highly charged message of a film maker like Oliver Stone?"[35] The newspaper also ran a review of the film by Vincent Canby who wrote, "Mr. Stone's hyperbolic style of film making is familiar: lots of short, often hysterical scenes tumbling one after another, backed by a soundtrack that is layered, strudel-like, with noises, dialogue, music, more noises, more dialogue".[38] Veteran film critic for The Washingtonian, Pat Dowell had her 34-word capsule review for the January issue rejected by her editor John Limpert on the grounds that he did not want a positive review for a film he felt was "preposterous" associated with the magazine".[35] Dowell resigned in protest.[35]

The Miami Herald said, "the focus on the trivialities of personality conveniently prevents us from having to confront the tough questions his film raises".[39] However, Roger Ebert praised the film in his review for the Chicago Sun-Times, saying, "The achievement of the film is not that it answers the mystery of the Kennedy assassination, because it does not, or even that it vindicates Garrison, who is seen here as a man often whistling in the dark. Its achievement is that it tries to marshal the anger which ever since 1963 has been gnawing away on some dark shelf of the national psyche".[40] Rita Kempley in the Washington Post wrote, "Quoting everyone from Shakespeare to Hitler to bolster their arguments, Stone and Sklar present a gripping alternative to the Warren Commission's conclusion. A marvelously paranoid thriller featuring a closetful of spies, moles, pro-commies and Cuban freedom-fighters, the whole thing might have been thought up by Robert Ludlum".[41]

On Christmas Day, the Los Angeles Times ran an article entitled, "Suppression of the Facts Grants Stone a Broad Brush" attacking the film.[42] New York Newsday followed suit the next day with two articles—"The Blurred Vision of JFK" and "The Many Theories of a Jolly Green Giant". A few days later, the Chicago Sun-Times ran an article entitled, "Stone's Film Trashes Facts, Dishonors J.F.K." Jack Valenti, then president and chief executive of the Motion Picture Association of America, denounced Stone's film in a seven-page statement. He wrote, "In much the same way, young German boys and girls in 1941 were mesmerized by Leni Reifenstahl's Triumph of the Will, in which Adolf Hitler was depicted as a newborn God. Both J. F. K. and Triumph of the Will are equally a propaganda masterpiece and equally a hoax. Mr. Stone and Leni Reifenstahl have another genetic linkage: neither of them carried a disclaimer on their film that its contents were mostly pure fiction".[43]

Stone even received death threats as he recalled in an interview, "I can't even remember all the threats, there were so many of them".[42] Time magazine ranked it the fourth best film of 1991.[44] Roger Ebert went on to name Stone's film as the best film of the year and one of the top ten films of the decade.[45] The Sydney Morning Herald named JFK as the best film of 1991.[46] Entertainment Weekly ranked it the 5th Most Controversial Movie Ever.[47]

Years after its release, Stone said of the film that it "was the beginning of a new era for me in terms of filmmaking because it's not just about a conspiracy to kill John Kennedy. It's also about the way we look at our recent history...It shifts from black and white to color, and then back again, and views people from offbeat angles".[48]

[edit] Box office

JFK was released in theaters on December 20, 1991. The box office for the film started slow but picked up momentum and by the first week in January 1992, it had grossed over $50 million worldwide. Stone started to get support for his film. Warner Brothers executives pointed out that because of the film's long running time, it had fewer screenings.[42] The studio undertook a $15 million marketing campaign promoting Stone's film.[33]

On its first week of release, JFK tied Beauty and the Beast for fifth place in the U.S. box office and its critics began to say it was a flop.[42] However, JFK eventually earned over $205 million worldwide, and $70 million in the United States during its initial run.[49] Garrison's estate subsequently sued Warner Bros. for a share of the film's profits, alleging a book-keeping practice known as "Hollywood accounting".[50] The lawsuit contends that JFK made in excess of $150 million worldwide but the studio claimed that the film did not earn any money under its "net profits" accounting formula. The suit also claims that Garrison's estate did not receive any of the net profits income. It should have been paid more than $1 million.[50]

[edit] Awards and nominations

JFK was nominated for eight Academy Awards including Best Picture, Best Actor in a Supporting Role (Tommy Lee Jones), Best Director (Oliver Stone), Best Original Score (John Williams), Best Sound, Best Cinematography (Robert Richardson), Best Film Editing, and Best Adapted Screenplay (Stone and Zachary Sklar).[51] It won two awards for Best Cinematography and Best Film Editing.[52]

Stone was nominated for Best Director of the year by the Directors Guild of America but did not win.[53] He also won a Golden Globe for Best Director and in his acceptance speech, he said, "A terrible lie was told to us 28 years ago. I hope that this film can be the first step in righting that wrong".[54]

[edit] Cultural impact

The popularity of JFK led to the passage of The President John F. Kennedy Assassination Records Collection Act of 1992 (also known as the JFK Act) and the formation of the U.S. Assassination Records Review Board. The Act was signed into law by President George H. W. Bush in late October 1992.[55] The ARRB worked until 1998. Witnesses were interviewed (some for the first time), the U.S. government purchased the Zapruder film, and previously-classified documents relating to the assassination were finally made available to public scrutiny. By ARRB law, all existing assassination-related documents will be made public by 2017.[56]

See also: John F. Kennedy assassination, Kennedy assassination conspiracy theories, and Trial of Clay Shaw

[edit] Home video

JFK has been released on VHS, Laser Disc, and several times on DVD. In 2001, the "Director's Cut" was released as part of the Oliver Stone Collection box set with the film on one disc and supplemental material on the second. Stone contributed several extras to this edition, including an audio commentary, two multi-media essays, and 54 minutes worth of deleted or expanded scenes with optional commentary by Stone.[57] In 2003, a two-DVD "Special Edition" was released with all of the extras on the 2001 edition in addition to a 90-minute documentary entitled, Beyond JFK: The Question of Conspiracy.[58]

The film was released on Blu-ray on November 11, 2008. The disc features many of the extras included on the previous DVD releases, including the Beyond JFK: A Question of Conspiracy documentary.[59][60]

[edit] Notes

  1. ^ a b Riordan 1996, p. 363.
  2. ^ a b Riordan 1996, p. 368.
  3. ^ Riordan 1996, p. 370.
  4. ^ Smith, Gavin (January/February 1994). "Somebody's gonna give you money, you do your best to make 'em a good hand". Film Comment: pp. 33. 
  5. ^ Lawrence, Will (August 2007). "In Conversation with Gary Oldman". Empire: pp. 130. 
  6. ^ Salewicz 1998, p. 83.
  7. ^ a b Riordan 1996, p. 369.
  8. ^ a b Crowdus, Gary (May 1992). "Getting the Facts Straight: An Interview with Zachary Sklar". Cineaste. 
  9. ^ Riordan 1996, p. 351.
  10. ^ a b Riordan 1996, p. 352.
  11. ^ Salewicz 1998, p. 80.
  12. ^ Riordan 1996, p. 353.
  13. ^ Riordan 1996, p. 354.
  14. ^ Riordan 1996, p. 355.
  15. ^ a b Crowdus, Gary (May 1992). "Clarifying the Conspiracy: An Interview with Oliver Stone". Cineaste. 
  16. ^ Riordan 1996, p. 356.
  17. ^ a b Riordan 1996, p. 357.
  18. ^ a b Riordan 1996, p. 358.
  19. ^ Salewicz 1998, p. 81.
  20. ^ Salewicz 1998, pp. 82-83.
  21. ^ Riordan 1996, p. 359.
  22. ^ Salewicz 1998, pp. 80-81.
  23. ^ Riordan 1996, p. 360.
  24. ^ Riordan 1996, p. 361.
  25. ^ Riordan 1996, p. 365.
  26. ^ Riordan 1996, p. 374.
  27. ^ Stone 2000, p. 590.
  28. ^ a b c d Fisher, Bob (February 1992). "The Whys and Hows of JFK". American Cinematographer. 
  29. ^ a b c Riordan 1996, p. 371.
  30. ^ Riordan 1996, p. 375.
  31. ^ Riordan 1996, p. 377.
  32. ^ Salewicz 1998, p. 84.
  33. ^ a b c d e f Salewicz 1998, p. 85.
  34. ^ a b c d Dyer, Richard (1992-01-19). "Hook, JFK are latest hits with the John Williams touch". Boston Globe: pp. A5. 
  35. ^ a b c d e f Petras, James (May 1992). "The Discrediting of the Fifth Estate: The Press Attacks on JFK". Cineaste: pp. 15. 
  36. ^ a b Lardner, George (1991-05-19). "On the Set: Dallas in Wonderland". Washington Post. http://web.archive.org/web/20000517172459/http://luna.cc.lehigh.edu/STONE:16:FRAME:X:41. Retrieved on 2007-08-01. 
  37. ^ a b Riordan 1996, p. 386.
  38. ^ Canby, Vincent (1991-12-20). "Review/Film: J.F.K.; When Everything Amounts to Nothing". The New York Times. http://movies2.nytimes.com/mem/movies/review.html?title1=&title2=J%20F%20K%20%28MOVIE%29&reviewer=Vincent%20Canby&v_id=25653&pdate=19911220&partner=Rotten%20Tomatoes. Retrieved on 2007-03-28. 
  39. ^ Riordan 1996, p. 416.
  40. ^ Ebert, Roger (1991-12-20). "JFK". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19911220/REVIEWS/112200304/1023. Retrieved on 2007-03-28. 
  41. ^ Kempley, Rita (1991-12-20). "JFK". Washington Post. http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/jfkrkempley_a0a288.htm. Retrieved on 2007-03-28. 
  42. ^ a b c d Riordan 1996, pp. 405—406.
  43. ^ Weinraub, Bernard (1992-04-02). "Valenti Calls J.F.K. 'Hoax' and 'Smear'". The New York Times. 
  44. ^ "Best of 1991". Time. 1992-01-06. http://www.time.com/time/magazine/article/0,9171,974592,00.html. Retrieved on 2008-09-17. 
  45. ^ Ebert, Roger (2004-12-15). "Ebert's 10 Best Lists: 1967-present". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20041215/COMMENTARY/41215001/1023. Retrieved on 2008-10-16. 
  46. ^ "Top Ten". Sydney Morning Herald. 1992-03-05. 
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[edit] References

  • Riordan, James (September 1996) Stone: A Biography of Oliver Stone. New York: Aurum Press. ISBN 1854104446
  • Salewicz, Chris (February 1998) Oliver Stone: Close Up: The Making of His Movies. Thunder's Mouth Press. ISBN 0-75281-820-1
  • Stone, Oliver (February 2000) JFK: The Book of the Film. New York: Applause Books. ISBN 1557831270

[edit] Further reading

[edit] External links

Sister project Wikiquote has a collection of quotations related to: JFK (film)
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Films directed by Oliver Stone
1970s
Seizure (1974)
1980s
The Hand (1981) • Salvador (1986) • Platoon (1986) • Wall Street (1987) • Talk Radio (1988) • Born on the Fourth of July (1989)
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