影剧篇 When Artists Distort History
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(1) King Richard III was a monster. He poisoned his wife, stole the throne from his two young nephews and ordered them to be smothered in the Tower of London. Richard was a sort of Antichrist the King - "that bottled spider, that pois'nous bunch-back'd toad.?
(2) Anyway, that was Shakespeare's version. Shakespeare did what the ______ does: he turned history into a vivid, articulate, organized dream - repeatable nightly. He put the crouch-back? onstage, and sold tickets.
(3) And who would say that the real Richard known to family and friends was not identical to Shakespeare's memorably loathsome creation? The actual Richard went dimming into the past and vanished. When all the eye-witnesses are gone, the artist's imagination begins to conjure?.
(4) Variations on the King Richard Effect are at work in Oliver Stone's JFK. Richard Ⅲ was art, but it was propaganda too. Shakespeare took the details of his plot from Tudor historians who wanted to blacken Richard's name. Several centuries passed before other historians began to write about Richard's virtues and suggest that he may have been a victim of Tudor malice and what is the cleverest ______ of all: art.
(5) JFK is a long and powerful discourse about the death of the man Stone keeps calling "the slayed young king." What are the rules of Stone's game? Is Stone functioning as commercial entertainer? Propagandist? Documentary filmmaker? Historian? Journalist? Fantasist? Sensationalist? Paranoid conspiracy-monger?? Lone hero crusading? for the truth against a corrupt Establishment? Answer: some of the above.
(6) The first superficial effect of JFK is to raise angry little scruples? like wounds in the conscience. Wouldn't it be absurd if a generation of younger Americans, with no memory of 1963, were to form their ideas about John Kennedy's assassination from Oliver Stone's report of it? But worse things have happened - including, perhaps, the Warren Commission report?
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