Movie Review: Snowden

Movie Review: Snowden

Hero worshippers should be predisposed to Oliver Stone’s Snowden, opening this Friday, September 16, 2016.

They will not be disappointed.

I’m not a fan of the controversial filmmaker’s, though his pictures, such as Alexander and JFK, have merit. Like his right-wing counterpart, director Clint Eastwood—whose September movie Sully also laments and examines the fall of the hero who is a much-maligned white male—leftist Oliver Stone makes character studies. Stone’s movies, like Eastwood’s, are naturalistic. They are not romanticized.

Snowden may be Stone’s best picture. Though flawed, slow and uneven in stretches, the cinematic adaptation of two books about the young American for whom it is titled is surprisingly even-handed, moving and potent. Stone is merciless in assailing the Obama administration’s dishonesty, portraying the fundamental betrayal of essential American principles, and decent people such as Edward Snowden, with sharp lines, video clips and cuts.

Snowden, like Sully, starts with the sound of voices. They talk on the telephone. Audio gives way to video and social media until, slowly, insidiously, it dawns on the audience what mass, indiscriminate metadata collection by the state means in everyday practice—how it violates your privacy and your rights, how by implication surveillance statism does nothing to defend your rights, your money or your life. Stone employs this shadowy, paranoid sensibility throughout the film. It is one of his trademarks.

He also deviates from his hyper-masculinity with a depiction of an intelligent and sensitive man at the beginning, as against the end as in Sully, of an exceptional career. Ed Snowden (Joseph Gordon-Levitt, The Walk), as he’s sometimes known here, enlists in the U.S. Army Special Forces after the Islamic terrorist attack on September 11, 2001. The small, slender, vision-impaired epileptic computer geek lacks the physicality to make it through basic training.

But Snowden possesses the desire, dedication and patriotism. The Army stint, shown as in Sully through scattered flashbacks, marks a turning point in his philosophical growth. This progression is captured in one crucial scene in which Edward Snowden reveals to an interviewer key influences, such as Henry David Thoreau, Joseph Campbell and Ayn Rand.

“Ah, Atlas Shrugged,” the interviewer says in recognition of Rand’s masterpiece, referring to one man who stopped the motor of the world. So goes Snowden‘s theme that the idealist moves the world, in Snowden’s case at the price of his own mobility and autonomy. This is how Stone, with screenwriter Kieran Fitzgerald, casts the tale’s individualist—with Edward Snowden as a real-life John Galt.

At least Stone, an anti-war conspiracy theorist who once sought to remake The Fountainhead, grasps that “going Galt” means blending in to change the world. This is exactly what self-taught Snowden does as he gains security clearance and stature to earn trust and authority, including from Nicolas Cage’s mentor (who’s like Henry Cameron in The Fountainhead), setting terms and hacking systems at the state’s various spy and surveillance apparatuses including the CIA and NSA at posts in Europe, Asia and the Eastern and Western United States.

The freethinking high school dropout is paired with a free-spirited sensualist (Shailene Woodley of the Divergent films) to accentuate the mind-body meld to come. Their romance heightens tension. Woodley, who apparently sought the role on principle, adds poignancy. Both characters rise above surveillance state whispers smearing them as misfits. Ed and Lindsay (like Sully and his wife Lorraine in the other movie) are productive equals in partnership trying to live and enjoy life on their own terms.

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Snowden is inscrutable and remote. His girlfriend is expressive and right there in the moment. Like many of today’s hobbled youths, they seek to find balance in a confusing world. Whether they succeed is entirely unknown, and necessarily so, as this movie must remain elusive to protect the innocent (and, in real life, Edward Snowden met with Stone and Fitzgerald in Moscow and cooperated with the movie, making it more pro-American, according to Stone.) Stay seated for the end credits for a clue. Woodley’s Lindsay really puts Snowden’s actions in perspective of the pursuit of happiness. If a fraction of this story is true, it’s an alarming, powerful and chilling account of the nation’s descent into dictatorship.

As Snowden remains straight, sincere and principled in his patriotism, trying to decode the security versus liberty false dichotomy for himself, with Woodley regarding questioning government as the principle upon which America was founded, Snowden filters references to FISA courts, the Iraq war, encryption, the military-industrial complex, PRISM and Xkeyscore into its paranoid mix of Cold War and post-9/11 government types controlling the country with fear but neither clarity in communication nor victory in war.

This makes Snowden‘s basic flaw—a refusal to depict a single Islamic terrorist act—more glaring. Dramatizing Snowden’s traitorous or heroic act in 2013 (which I first wrote about here and praised in earnest here) requires a plausible argument against surveillance statism, which means accounting for its results, which necessitates showing acts of war by jihadists.

None are evident in Stone’s Snowden.

The absence of jihadists robs the movie of a crucial part of what must have been readily evident to Snowden, whose life starts to resemble Jason Bourne’s; that none of this incessant “security theater” (i.e., TSA) stops Islamic terrorist attacks. Despite this omission of relevant facts, Snowden is not mere propaganda (like Spike Lee’s interesting Malcolm X) and, while it moves glacially in spots through the programmer’s methodical approach to understanding his government, his girlfriend and how his work might harm the innocent, he fully earns his conclusion that “the only thing we’re protecting is the supremacy of [the] government.”

In fact, Snowden downplays the fundamental threat and danger to man’s rights by grounding the tale in the tension-packed days when he met with filmmaker Laura Poitras (Melissa Leo), left-wing activist and journalist Glenn Greenwald (Zachary Quinto) and Ewen MacAskill (Tom Wilkinson) and assumes a broad context of knowledge about the ramifications of mass, unchecked statism. After Snowden quit the CIA on principle, he “thought things were going to get better under [Barack] Obama”, like many Americans did in 2008, which is why the movie’s second half, as he moves with Lindsay to Oahu to work in an underground spy facility, generates suspense and heaviness.

His historic act of defiance snowballs into a nerve-wracking climax that taps today’s mass anxiety.

“I was wrong,” Snowden says about his trust and optimism for President Obama, whose lies consume the story and threaten everything Edward Snowden—who by now has gone from being a pale code-puncher to a man with priorities, commitment and the blush of color—values, treasures and loves. “Yes We Can” becomes the motto affirming Big Brother’s rising power to watch and control your life, with Gordon-Levitt nailing Snowden’s measured, composed analysis, referencing the Nuremberg trials to his complacent, compliant boss (Scott Eastwood) and judging for himself what constitutes proper transparency and disclosure.

In the end, with a Hong Kong hotel’s Do Not Disturb sign serving as the euphemism for the great American proclamation “Don’t Tread On Me”, Snowden pulls off what is at once sharp, powerful and painful to watch: a penetrating portrait of a damaged, fragile youth of ability and promise—representing America’s future—driven to surrender his freedom and flee to faraway lands by military-industrial statism, i.e., fascism, in order to protect his life, rights, woman and Constitutional republic. Snowden in its paranoia and grating, glacial imperfection, delivers a pale-faced superhero who is human, frail and vital—not hollow, weak and blank.

For this reason, Snowden is excruciatingly emotional if you know in advance what his being jettisoned from the nation he fought to serve objectively means and it’s likely to be inexplicably agonizing and anxiety-inducing if you don’t. In either case, you will probably want to exercise free choice over controlling your private property and keep covering your computer’s camera. Whatever you think of Edward Snowden and Oliver Stone’s Snowden, you have only Ed Snowden to thank for that.

Preview: Oliver Stone’s Snowden

Oliver Stone’s new movie about Edward Snowden, the whistleblower whose act of defiance against the Obama administration led to his persecution and exile and awareness of the surveillance state, debuts on September 16.

The title is Snowden. The tagline: “The only safe place is on the run.”

snowden-movie-poster-useJudging by the polished, paranoia-themed trailer, Snowden will be typical of Stone, the Academy Award®-winning director of Platoon, Alexander, Born on the Fourth of July, JFK, Wall Street and World Trade Center. The trailer looks like it bears his usual marks; creative license apparently taken with what’s known about Snowden’s motives, relationships and life, to the extent this is discernible, Stone’s dark, moody look and an all-star cast including Melissa Leo (The Fighter), Zachary Quinto (Star Trek), Rhys Ifans (The Amazing Spider-Man), Nicolas Cage (Ghost Rider), Tom Wilkinson (Batman Begins), Shailene Woodley of the Divergent series and Joseph Gordon-Levitt (The Walk, Mysterious Skin, Lincoln) as Edward Snowden (watch Snowden‘s trailer here and read my thoughts on Edward Snowden here.)

At least Gordon-Levitt, an excellent actor (he’s marvelous in the exquisite The Walk), is a fine choice as the lead. Also, in this case, unlike leftist Stone’s compelling but flawed JFK, the movie’s apparent subject, the essential story of the man who unmasked the American surveillance state, is, in fact, a conspiracy, by the government’s admission. Snowden is a hero if you think, as I do, that the United States is becoming totally controlled by the state, and a traitor if you believe that the state’s proper role is security regardless of individual rights. What he did, whatever your philosophy, has an undeniable impact on Americans’ lives and liberty, including influence on Apple’s courageous decision to defy the government, and Snowden could be better than Stone’s previous pictures, including Alexander, his mixed and wrongly maligned 2004 movie about Alexander the Great.

 

The Press Defies the State

PPThough serving what is largely a symbol of pretentiousness, the Pulitzer Prize juries boldly defied the American government and awarded the highest prizes to those who reported facts disclosed by an American who worked for the government, defied the government, fled the country, heroically spoke against total government control and was deemed a traitor by the state.

The Washington Post won a Pulitzer Prize today for a series of stories that exposed the National Security Agency’s massive surveillance programs. An award also went to a team associated with the British-based Guardian newspaper, which also reported extensively about the NSA’s secret programs. The Guardian’s NSA articles are also based on classified documents leaked by Edward Snowden, the former government employee and contractor who fled to exile in Russia.

In a statement about the awards, the Jeff Bezos-owned Post‘s executive editor, Martin Baron, said today that the NSA reporting exposed a national policy “with profound implications for American citizens’ constitutional rights” and that “[d]isclosing the massive expansion of the NSA’s surveillance network absolutely was a public service…In constructing a surveillance system of breathtaking scope and intrusiveness, our government also sharply eroded individual privacy. All of this was done in secret, without public debate, and with clear weaknesses in oversight.”

But, as far as what barely remains of a free press is concerned, the best part of what Baron said is that, without reporting on Snowden’s disclosures:

  We never would have known how far this country had shifted away from the rights of the individual in favor of state power.”

Today’s press is bullied, pressured and dominated by the state, and permeated by faith in either the dogma of statism or traditionalism, as evidenced by most of media including MSNBC and Fox News, a fact reflected by the worst part of what Baron’s statement says: “… As even the president has acknowledged, this is a conversation we need to have.”

The free press is not based on need and does not exist to have a conversation, though a conversation may be fostered and may occur, whether a conversation is acknowledged by the leader of the executive branch in a republic based on individual rights. By using the language of the Obama administration, which controls the government that has a monopoly on the use of force and has seized unprecedented power through unconstitutional means, the Post‘s editor undercut the truth of what he said – that individual rights are paramount. The press exists to express, report and speak in free exercise, but at least the editor identified, named and defended individual rights, he said it out loud, and he said it in defiance of a government that exhibits contempt for the rights of the individual, aims to destroy the nation based on this sacred ideal and seeks total power over every aspect of the individual’s life, liberty, property and pursuit of happiness.

The nation’s capital newspaper editor defied the nation’s government in explicit support of “the rights of the individual.” This fact, and the free exercise of press independence, is pure progress.

Pro Hockey Scores for Egoism

NHL logoTo its eternal credit, the National Hockey League is reportedly holding off a commitment to send athletes to compete at the Olympics, which are being described by officials as “very likely” to be attacked by religious fundamentalists.

Good for the NHL, which should follow the example of Pittsburgh Penguins owner Mario Lemieux and go by reason and self-interest. Let others mindlessly march into a police state’s false sense of security. In a world in which innocent lives are constantly put at risk in the name of not offending Islam and entire government agencies are constructed to track, target and control innocent lives while appeasing those who initiate force against the West, the NHL is right to not follow the herd and put the athletes’ lives first. The last major sports event attacked by jihadists, the Boston Marathon, was another powerful example of the U.S. government’s failure to protect American lives.

After years of widespread, systematic violation of individual rights – heroically catalogued and disclosed by whistleblowers such as Edward Snowden – the American state did not stop the attack on Boston despite Obama’s claims that the state should be trusted to defend the nation. The Boston Marathon attack disproves (as do the attacks at Benghazi and Fort Hood) the government’s insistence that government-controlled life improves security. In fact, there is evidence that the government knew in advance of each planned attack mentioned here, including having specific knowledge of the Boston attackers’ ties to Islamic terrorism. Boston strong? Please. Boston busted.

This is why the NHL is right to question the safety of the Olympics. There is no reason to believe that athletes and their families are safe. There is every reason to believe an attack will occur and that the West will do nothing to protect lives and property. The police placed Boston under martial law and still came up short, leaving a private citizen to discover the cowering Islamic terrorist and only after he’d been allowed to kill his comrade before he could be caught.

Why should innocents pledge to be first to die because the West would rather move toward fascism than face the necessity of naming and eradicating the threat of Islamic fundamentalism? The NHL is acting as a true trade association and should be encouraged in its refusal to follow along. Whatever their final decision, the business of professional hockey has given its players, fans and the world an example in the ethics of egoism.