Jump to content

JFK (film)

From Alfawiki
JFK
Company typeFilm
IndustryMotion picture
Founded1991
FounderOliver Stone (director and co-writer)
ProductsFilm

JFK is a 1991 American epic political thriller directed and co-written by Oliver Stone. The film centers on New Orleans district attorney Jim Garrison's inquiry into the assassination of John F. Kennedy, depicting his conviction that a government conspiracy existed and that Lee Harvey Oswald was merely a fall guy.

The script, crafted by Stone and Zachary Sklar, draws from Garrison's On the Trail of the Assassins and Jim Marrs' Crossfire: The Plot That Killed Kennedy. Stone positioned the movie as a "counter-myth" challenging the official account provided by the Warren Commission. Its emphasis on conspiracy theories sparked debate, with prominent U.S. newspapers accusing Stone of disseminating misinformation, including allegations that Kennedy's assassination was a coup d'état designed to elevate Vice President Lyndon B. Johnson.

Nevertheless, JFK received widespread critical praise for its acting, direction, musical score, editing, and cinematography. After a modest initial reception, it amassed over $205 million globally, ranking as the sixth highest-grossing film in 1991 and becoming Stone's most commercially successful work. The film earned eight Academy Awards nominations, winning in the categories of Best Cinematography and Best Film Editing. It marked the first installment in Stone's trilogy focused on American presidents, followed by Nixon (1995) and W. (2008).

Plot

In his 1961 farewell speech, President Dwight D. Eisenhower cautioned against the expanding influence of the military-industrial complex. John F. Kennedy succeeded him as president, with his term defined by events such as the Bay of Pigs Invasion and Cuban Missile Crisis before his assassination in Dallas on November 22, 1963. Lee Harvey Oswald, an ex-Marine and alleged Soviet defector, was apprehended for the murders of Kennedy and police officer J. D. Tippit but was subsequently killed by nightclub owner Jack Ruby. New Orleans District Attorney Jim Garrison initiated an investigation into possible local involvement in the assassination, including connections to private pilot David Ferrie; however, he encountered federal opposition and eventually closed the case.

In 1966, after reexamining the Warren Report and noting inconsistencies like the single bullet theory, Garrison reopened his investigation. His team questioned witnesses linked to Oswald and Ferrie, such as Willie O'Keefe—a male prostitute who claimed to have overheard assassination plans involving an individual named "Clay Bertrand" and briefly met Oswald. Garrison proposed that Oswald was a CIA double agent set up to take blame for the assassination.

By 1967, Garrison's investigators interviewed witnesses including Jean Hill, who asserted that a shooter fired from the "grassy knoll," contradicting official versions influenced by Secret Service interference. Ballistics tests indicated Oswald lacked the skill to make the fatal shots himself, supporting a theory involving multiple shooters. Garrison identified "Bertrand" as businessman Clay Shaw, who denied any association with Ferrie, O'Keefe, or Oswald.

Witnesses became increasingly fearful; some—among them Ruby and Ferrie—died under questionable circumstances. Before his death, Ferrie informed Garrison of a conspiracy to assassinate Kennedy. A confidential informant known only as "X" alleged that Kennedy’s security was intentionally compromised and suggested a high-level coup involving entities such as the CIA, Mafia, military-industrial complex, Secret Service, FBI, and Vice President Lyndon B. Johnson. According to X, Kennedy was targeted due to his plans to withdraw from Vietnam, ease tensions with Cuba, and dismantle the CIA. Motivated by X's information, Garrison pursued legal action against Shaw.

Garrison’s commitment to the case placed strain on his marriage; his wife Liz criticized his prioritization of the investigation over family life and accused him of targeting Shaw because of his homosexuality. Some members of Garrison’s staff resigned amid skepticism about his motives and tactics; one insider was later exposed as an FBI informant involved in efforts to intimidate Garrison. Media outlets condemned the probe as a misuse of taxpayer funds fixated on conspiracy theories. Additionally, Garrison suspected connections between Kennedy’s assassination and those of Martin Luther King Jr. and Robert F. Kennedy.

During Shaw's 1969 trial, Garrison contested the single-bullet theory and presented an alternative narrative involving three assassins firing six shots aimed at framing Oswald while installing Johnson as president to escalate Vietnam War involvement and benefit defense contractors. Despite these arguments, Shaw was acquitted after less than an hour of jury deliberation. Although legally unsuccessful, Garrison restored his family's respect through his unwavering resolve.

Cast


Production

In 1987, journalist and Columbia School of Journalism professor Zachary Sklar teamed up with Jim Garrison to revise Garrison’s manuscript concerning Kennedy’s assassination, shifting it from an academic third-person narrative into a first-person "detective story." This revised edition was published in 1988. At Havana's Latin American Film Festival, Oliver Stone encountered Ellen Ray, publisher at Sheridan Square Press who had collaborated with Garrison and provided Stone with a copy of On the Trail of the Assassins. To prevent other studios from acquiring it, Stone promptly secured film rights for $250,000.

Deeply moved by the assassination of Kennedy, Stone conducted an extensive interview with Garrison and admired his resolve despite imperfections in his inquiry. Stone intended to emphasize the conspiracy surrounding the assassination rather than focusing on Garrison’s personal story. He also obtained rights to Jim Marrs’ Crossfire: The Plot That Killed Kennedy. To aid research efforts, Stone employed Yale graduate Jane Rusconi to lead a team that examined nearly 200 books on the topic while he completed work on Born on the Fourth of July.

By December 1989, while working on The Doors, Stone pitched JFK to various studios. Warner Bros. executives initially suggested he direct a Howard Hughes project; however, since those rights belonged to Warren Beatty, Stone proposed JFK instead. Terry Semel, Warner Bros.' president known for supporting politically charged films such as All the President's Men and The Killing Fields, approved the project. Stone reached a handshake agreement for Warner Bros. to finance the $20 million budget and obtain exclusive rights, thereby limiting exposure of the contentious screenplay and ensuring committed studio support.

Screenplay

Stone collaborated with Sklar, the editor of Marrs' book, to co-author the screenplay. Together, they condensed the material from Garrison and Marrs' writings along with Rusconi's findings into a script crafted as "a compelling detective story." Stone drew primary inspiration from films like Z and Rashomon, aiming to depict the Dealey Plaza incident through multiple retellings that progressively reveal deeper layers.

The narrative was organized into four distinct threads: Garrison's investigation in New Orleans; the creation of the "Oswald myth"; a dramatization of the assassination in Dealey Plaza; and intelligence delivered by the composite figure "Mr. X," who served as a bridge between local events and broader conspiracies.

While Sklar concentrated on Garrison’s storyline, Stone developed the Oswald segments, Dealey Plaza reenactments, and the character "Mr. X," a fusion of Richard Case Nagell and Air Force Colonel Fletcher Prouty—both of whom acted as consultants for the film. Stone regarded his encounter with Prouty as a turning point that deepened the film’s insider perspective.

Initial screenplay drafts envisioned a 4.5-hour runtime with a $40 million budget—twice Warner Bros.' original offer. Financing was secured through Arnon Milchan, who founded Regency Enterprises with JFK as its flagship project. Stone trimmed the script from 190 pages down to 156 for production.

Additional advisors included Gerald Hemming, a former Marine associated with CIA operations, and Robert Groden, an expert in photography and JFK assassination research.

Subsequently, Stone published JFK: The Documented Screenplay, an annotated edition referencing sources for nearly every claim made in the film.

Casting

To fill the role of Garrison, Stone sent scripts to Kevin Costner, Mel Gibson, and Harrison Ford. Although Costner initially declined, his agent Michael Ovitz convinced him to accept. Prior to signing in January 1991, Costner conducted extensive research on Garrison by meeting him and his opponents. Costner’s rising prominence—following his seven Academy Awards for Dances with Wolves—enhanced JFK’s commercial appeal.

Tommy Lee Jones was originally considered for a smaller part but was ultimately cast as Shaw after interviewing Garrison and individuals acquainted with Shaw. Stone approached James Woods for David Ferrie’s role; Woods declined, as did Willem Dafoe and John Malkovich.

Marlon Brando was contemplated for Mr. X but the role eventually went to Donald Sutherland. Gary Oldman received limited scripted dialogue for Oswald; Stone encouraged independent preparation by offering contacts and travel opportunities. Oldman met Marina Oswald Porter and her daughters to prepare, while Beata Poźniak studied the Warren Report and lived with Marina to improvise her scenes authentically.

Several performers waived their fees due to the project's significance. Martin Sheen provided narration at the start; Jim Garrison portrayed Chief Justice Earl Warren in pivotal scenes. Assassination witness Beverly Oliver appeared in a cameo role alongside Sean Stone (Oliver’s son) playing Garrison’s son Jasper, and Perry Russo portraying an irate bar patron referencing Oswald.

Principal photography

The film centers on Costner’s portrayal of Jim Garrison, supported by an extensive cast of distinguished actors. Stone modeled casting after the WWII epic The Longest Day, aiming to create an authentic yet star-studded ensemble embodying America's collective consciousness.

Cinematographer Robert Richardson, joining after completing work on City of Hope, prepared by reviewing JFK assassination literature including On the Trail of the Assassins and Crossfire: The Plot That Killed Kennedy.

Stone initially intended to shoot using multiple aspect ratios—starting with 1.33:1 to evoke 1960s television screens, progressing to 1.85:1 and concluding at 2.35:1—but this plan was abandoned due to scheduling constraints.

To authentically recreate Kennedy’s assassination, producers compensated Dallas City Council for police support and street closures at Dealey Plaza over three weeks. With only ten days allocated for filming these scenes, Stone utilized seven cameras (two 35 mm and five 16 mm) along with fourteen different film stocks. Obtaining permission to film inside the Texas School Book Depository proved difficult and expensive; $50,000 was paid to allow an actor in Oswald’s window under tight restrictions on personnel and hours. Co-producer Clayton Townsend remarked that restoring the building’s 1963 appearance required five months of negotiations.

The production invested $4 million in restoring Dealey Plaza to its original 1963 condition. Stone employed various film stocks alongside multiple simultaneous camera crews—sometimes deploying five cameras at once across different formats—necessitating unconventional lighting techniques. Richardson described Stone’s directing style as pushing beyond traditional cinematography methods by demanding diverse lighting setups. Filming took place from April 15 through July 31, 1991, spanning 78 days and wrapping four-and-a-half months before release.

Editing

JFK represented a significant evolution in Stone's directing style, employing a subjective and non-linear narrative structure where the pace of editing propels the storyline. To achieve this innovative approach, Stone brought on board Hank Corwin, an editor known for his work in commercials and described as having a "chaotic mind," who was not bound by conventional film editing norms. Corwin’s distinctive editing techniques complemented Stone’s strategy of using multiple layered flashbacks, designed to mirror the intricate nature of the Warren Commission Report. Due to the use of diverse film stocks, traditional 35mm editing was unfeasible; therefore, the footage was digitized onto 3/4" videotape for the editing process before being conformed back onto the original film negatives.

Stone later reflected on JFK as a pivotal moment in his career, moving beyond conspiracy theories to examine recent historical events through varied visual styles and unconventional viewpoints.

Music

Initially committed to Steven Spielberg's Hook, composer John Williams created six musical pieces for JFK prior to viewing the entire film. After watching approximately an hour of edited scenes in New Orleans, Williams composed additional cues, prompting the editing team to adjust the film’s cut to align with his score. For the motorcade sequence, he developed "highly kinetic music" featuring interwoven rhythmic patterns. The profound emotional impact of President Kennedy’s assassination deeply influenced Williams’ dedication to the project.

Critical reaction

On Rotten Tomatoes, JFK maintains an 84% approval rating based on 70 critical reviews, with an average score of 7.7 out of 10. The site’s consensus summarizes that while Stone’s depiction of history may be questionable, as a cinematic work it is electrifying, packing extensive information and energy into its three-hour duration and showcasing an exceptional cast. According to Metacritic, the film holds a weighted average score of 72 out of 100 from 29 reviews, signifying "generally favorable" feedback. Audience polling by CinemaScore assigned it an average grade of "A" on their A+ to F scale.

Pre-release

The production and launch of the film encountered considerable controversy and criticism. Shortly after shooting began, Jon Margolis wrote in the Chicago Tribune that JFK was "an insult to the intelligence." Within five days, The Washington Post published George Lardner’s critical piece titled "On the Set: Dallas in Wonderland," which scrutinized early screenplay drafts for containing "absurdities and palpable untruths," drawing from Garrison’s book and Stone’s adaptation. The article highlighted Garrison’s failed prosecution against Clay Shaw and criticized his attempt to link Shaw’s homosexual relationships with guilt by association. In reaction, Stone engaged a political public relations agency. Anthony Lewis of The New York Times commented that the movie "suggests our government cannot be trusted to provide an honest account of a Presidential assassination." Meanwhile, George Will, columnist for the Washington Post, characterized Stone as "a man possessing technical skill but limited education and questionable ethics."

In June 1991, Time reviewed the unfinished film and accused Stone of trying to suppress another JFK assassination movie based on Don DeLillo's novel Libra. Stone responded with a letter disputing these allegations.

Throughout this period, Stone managed both filmmaking responsibilities and an extensive media campaign, appearing on shows ranging from CBS Evening News to Oprah. The Lardner article had particular resonance because it was based on an early script draft; Stone noted that he revised the screenplay through six or seven subsequent drafts.

Post-release

Following its theatrical debut, The New York Times published an article by Bernard Weinraub that raised questions about possible studio interference with Oliver Stone's film. Critic Vincent Canby characterized Stone's approach as "exaggerated," noting the film’s quick scene transitions and richly layered soundtrack. Meanwhile, Pat Dowell of The Washingtonian resigned after her editor suppressed her favorable review due to disagreement with the film’s message.

Time magazine’s Richard Corliss lauded JFK as a "stunning" work that fused historical narrative with sensational tabloid style, describing it as "seductively provocative" and "remarkably intricate." Conversely, the Miami Herald faulted the movie for emphasizing individuals over addressing its more challenging inquiries. Both Gene Siskel and Roger Ebert offered positive critiques; Siskel deemed it "thoroughly engaging" despite some factual liberties, while Ebert underscored its profound emotional resonance on the American consciousness. Rita Kempley of The Washington Post called it a "brilliantly paranoid thriller" presenting a compelling alternative storyline.

Critical perspectives also appeared in New York Newsday and the Chicago Sun-Times, with Jack Valenti, then head of the Motion Picture Association of America, condemning the film as propaganda akin to Triumph of the Will. Stone recounted receiving numerous threats after the film’s release.

TIME placed JFK fourth among 1991’s best films but later included it in a list of the "Top 10 Historically Misleading Films." Ebert named it both the best film of that year and one of the decade’s top ten, adding it to his collection of Great Movies. Siskel ranked it seventh for 1991, while the Sydney Morning Herald declared it the year’s finest film. Additionally, Entertainment Weekly ranked it fifth among the most controversial movies ever made.

On the other hand, critic Richard Roeper acknowledged Stone's directorial talent but dismissed the conspiracy elements as "journalistically baseless nonsense." Former New Orleans district attorney Harry Connick Sr., who defeated Garrison in 1973, criticized Stone’s depiction of the Clay Shaw investigation. Historian Vincent Bugliosi identified thirty-two inaccuracies in the film, labeling it "one continuous falsehood." Scholar David R. Wrone estimated that 80% of the movie contained factual errors and rejected its conspiracy theory premise. Warren Commission investigator David Belin called it "a grand deception," while ex-Congressman Floyd Fithian accused it of distorting history.

John F. Kennedy’s son, John F. Kennedy Jr., chose not to view the film, emphasizing that controversy would not bring his father back. Secret Service agent Clint Hill, who was present during the assassination, described the movie as "absurd."

Box-office

Released on December 20, 1991, JFK initially tied with Beauty and the Beast for fifth place at the U.S. box office, leading some critics to consider it a commercial failure. Warner Bros. executives attributed this partly to its lengthy runtime, which limited daily screenings. Nevertheless, a $15 million marketing push helped build momentum. By early January 1992, global earnings surpassed $50 million; eventually, worldwide gross exceeded $200 million, with $70 million generated domestically during its original theatrical run.

Garrison’s estate filed suit against Warner Bros., seeking a share of profits and alleging fraudulent "Hollywood accounting" practices. The lawsuit claimed that despite JFK earning over $150 million worldwide, studio accounting showed no net profits, resulting in denial of over $1 million owed to Garrison’s estate.

Awards and nominations

Award Category Recipients Result
Academy Awards Best Picture Oliver Stone and A. Kitman Ho Nominated
Best Director Oliver Stone Nominated
Best Supporting Actor Tommy Lee Jones Nominated
Best Adapted Screenplay Oliver Stone and Zachary Sklar Nominated
Best Cinematography Robert Richardson Won
Best Film Editing Joe Hutshing and Pietro Scalia Won
Best Original Score John Williams Nominated
Best Sound Michael Minkler, Gregg Landaker, and Tod A. Maitland Nominated
BAFTA Awards Best Supporting Actor Tommy Lee Jones Nominated
Best Adapted Screenplay Oliver Stone and Zachary Sklar Nominated
Best Editing Joe Hutshing and Pietro Scalia Won
Best Sound Tod A. Maitland, Wylie Stateman, Michael D. Wilhoit,
Michael Minkler and Gregg Landaker 		Won
Golden Globe Awards
Nominated
Oliver Stone Won
Kevin Costner Nominated
Oliver Stone and Zachary Sklar Nominated
Outstanding Directing - Feature Film Oliver Stone Nominated

Upon receiving the Golden Globe for Best Director, Stone remarked: A terrible lie was told to us 28 years ago. I hope this film can be the first step in righting that wrong.

Ranked among Entertainment Weekly's 25 "Powerful Political Thrillers," JFK was also named by the Motion Picture Editors Guild in 2012 as the ninth-best edited film ever based on member voting.

Legislative impact

The final report from the Assassination Records Review Board (ARRB) credited concerns stirred by JFK with contributing to passage of the 1992 President John F. Kennedy Assassination Records Collection Act (JFK Act). The ARRB observed that the movie "popularized a version of President Kennedy's assassination implicating U.S. government agencies including FBI, CIA, and military personnel as conspirators." While labeling much of it "largely fictional," they acknowledged Stone’s argument regarding official records sealed until 2029 and suggested that secrecy undermined public trust in official conclusions. By law, all assassination-related documents were to be disclosed by 2017; most have since been made public.

Home media and alternate versions

The original theatrical version of JFK was released on VHS and Laserdisc on May 20, 1992. An extended "Director's Cut," running 206 minutes, followed on VHS and Laserdisc in 1993 before appearing on DVD in 1997.

On January 16, 2001, this Director's Cut was reissued on DVD within the Oliver Stone Collection box set featuring bonus content such as audio commentary tracks, multimedia essays, and 54 minutes of deleted or extended scenes with optional commentary. A "Special Edition" DVD released November 11, 2003 included a 90-minute documentary titled Beyond JFK: The Question of Conspiracy, alongside previous extras.

The Director's Cut became available on Blu-ray November 11, 2008 retaining many prior special features. While physical media availability of the theatrical cut in the U.S. was limited after initial releases, a lower-quality transfer was issued on DVD in the UK. Both versions are now accessible through digital download and streaming platforms in America.

On December 19, 2023 Shout! Factory launched a box set under their Shout Select label containing both theatrical and extended editions on UHD & Blu-ray formats; the Director’s Cut appears on a 4K disc while a remastered Blu-ray disc includes the theatrical version.

In popular culture

The film was parodied in Seinfeld during its 1992 episode "The Boyfriend." The iconic "back and to the left" moment also inspired satire within the cult animated series The Critic.

Within the ’90s sitcom Family Matters, character Waldo Faldo referenced JFK twice—mispronouncing its title during discussions about movie preferences.

Stan Dane’s book Prayer Man: The Exoneration of Lee Harvey Oswald utilized high-quality frames from James Darnell’s footage to support a theory identifying an individual on the Depository steps during the assassination as Oswald himself.

References

Bibliography

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

Further reading

  • Mark C. Carnes, "Past Imperfect: History According to the Movies," Cineaste, Fall 1996.
  • Gary Crowdus, "Clarifying the Conspiracy: An Interview with Oliver Stone," Cineaste, May 1992.
  • Eric Hamburg, JFK, Nixon, Oliver Stone and Me: An Idealist's Journey from Capitol Hill to Hollywood Hell, PublicAffairs, September 2002.
  • Robert Brent Toplin (1996), History by Hollywood "JFK: Fact, Fiction, and Supposition," University of Illinois Press.

External links

Retrieved from "https://www.alfawiki.org/index.php?title=JFK_(film)&oldid=39863"