AND STONE TALKS ABOUT 'NATURAL BORN KILLERS' - "IT WAS GOING BACK TO MY SCARFACE DAYS"
Armond White reviews Oliver Stone's Snowden for National Review, bringing Brian De Palma's Redacted into the discussion to say that Stone and De Palma have "succumbed to political clichés and liberal nostalgia" since their Scarface days. Here's an excerpt from White's review:
Stone’s Snowden is cynical without wisdom — just righteousness. Falling for the contemptuous line “You’re only protecting the supremacy of your government” doesn’t jibe with his supposed interest in protecting the U.S. after 9/11. Stone indulges this specious optimism then teases with it when geeky Snowden chooses the Internet as his “sin of choice” and CIA brass tell him, “You’ve come to the right whorehouse.”
Stone confuses sexual exploitation with the idea of the U.S. as a Super Spy nation that rapes its own citizens. This resembles the disillusionment that Brian De Palma displayed in his anti–Iraq War movie Redacted. A scene in which Snowden is reprimanded by a wall-size video projection of his boss — he’s symbolically dwarfed by the looming Big Brother government — is so over-obvious that it made me wish De Palma were applying his voyeuristic, techno-geek satire to this story (and to the sexual complicity of Snowden’s relationship with his ambitious girlfriend Lindsay, an anti-American fellow traveler played by Shailene Woodley).
When De Palma and Stone collaborated on Scarface (1983), they were more politically challenging. Unfortunately, both De Palma and Stone have since succumbed to political clichés and liberal nostalgia. They no longer challenge themselves. In Scarface, it was always clear that Al Pacino’s Tony Montana, the drug-dealing illegal immigrant, was a criminal; his gangster “hero” had slipped in through the cracks of U.S. diplomacy and capitalism. Yet here, Snowden’s betrayal of his employer — which might be considered criminal in the private sector — is justified as virtuous. “You’re running a dragnet on the whole world!” Snowden petulantly objects. (Stone then cuts to footage of Venezuelan dictator Hugo Chavez as an example of an “ousted Third World leader who would not play along.”)
In Stone’s 2013 drugs-sex-class feature Savages, home-grown criminality was thrillingly understood as a warped version of American values. Perhaps Stone needs to work from fiction in order to be a dazzling artist — as he was in making JFK, Any Given Sunday, and Alexander. But when borrowing semi-documentary style in Snowden, Stone forgets he’s telling a story of sedition, and he loses both his sense of human nature and his cinematic dazzle. The smug final image of Snowden taking asylum in Russia (“I’ve gained a new life”) shows him in heroic profile, completely overlooking the fact of his (and Poitras’s and Greenwald’s) seditious radicalization. Stone abets these traitors’ pride. His skill as a filmmaker and his virtue as a disgruntled American are the immediate casualties.
OLIVER STONE ON 'NATURAL BORN KILLERS' - "A LOVE STORY WRAPPED IN A HORROR FILM"
Stone talked through some of his filmography with the Los Angeles Times' Josh Rottenberg. Here's what he said about Natural Born Killers:
“That hurt. Warner Bros. never really supported the film. When I showed it to them, I had never seen such shock on the faces of the execs. It was like, ‘How are we going to release this movie?’ I think they never got their hands around it.
“That was a depressing time for me because the attacks were mean-spirited. It’s a unique picture, I think. It’s not normal. It’s a sensory overload. It was going back to my ‘Scarface’ days. It was, ‘OK, let’s ramp up the coarseness and the vitality.’ It’s a love story wrapped in a horror film.”