“You can’t even make a movie critical of America practically, unless you do it in a very lighthearted way,” Stone says. The ‘70s were “a time where people were re-examining — what were we doing in Vietnam? But that hasn’t happened (since). What are we doing in Iraq? What are we doing in Afghanistan? There’s just no questioning in movies.”
Reading this quote, offered by the director upon the release of Snowden, one was left with the unmistakable impression that Oliver Stone was already making excuses for what would rank as one of his most egregious box-office flops, almost – but not quite as bad – as Heaven and Earth.
I was tempted upon reading this to ask Mr. Stone whether he is familiar with the vast corpus of documentary work that is scathingly critical of America? Or, indeed, whether he has heard of films like Lions for Lambs, Syriana, In the Valley of Elah, Margin Call, The Big Short, or Redacted, all of which were critical of the nation’s faults without descending into the cauldron of angry demagogic revisionism that is Mr. Stone’s customary swimming pool.
Regardless of whether it is hyperbole, ignorance, egregious self-promotion, or studied disinformation, Mr. Stone’s comment reflects poorly upon him and his exceedingly narrow world-view. Such a tunneled perspective in an auteur is only a problem when it is a reflected in his work. Unfortunately, given Mr. Stone’s choices of subject matter – recent American political history – this is indeed a problem.
Oliver Stone is no documentarian, and he has made clear his willingness to interpret historical events through the prism of his political beliefs. As Snowden drips its way into our living rooms, it is worth remembering that what Stone creates is works of interpretive fiction, not histories with dramatic license, and that in the end, his cause is not so much to reveal truth as it is the promotion of Oliver Stone.