The Lie, the Whole Lie, and Nothing But the Lie
|Photos by Claire Fogler|
Ever since a San Francisco Chronicle story about two rival Northern California pet cemeteries led to his 1978 debut film, Gates of Heaven (1978), Errol Morris has seemed less filmmaker than cultural anthropologist, seeking out evidence of the real America the one taking place on the other side of your seemingly well-adjusted neighbors backyard fence and recording it for posterity. And if the average moviegoer might not leap to the conclusion that Morris is one of the most important and innovative of American filmmakers, it may be because he has so often been classified as a documentarian a designation, its worth noting, that is far more frequently applied than it is defined. (Roger Ebert once asked me the difference between a documentary and a drama, and I told him, Three zeroes, Morris jokes on the phone.) Its also a label that has done little to endear Morris or his films, which frequently incorporate staged and heavily stylized sequences, to the nonfiction-filmmaking establishment.
If The Fog of War is nominated, as many predict, for a documentary Oscar next year, it will be the first such nomination Morris has received in an oeuvre that includes the 1988 film The Thin Blue Line, in which Morris investigation into the 1976 murder of a Dallas policeman resulted in evidence that ultimately overturned the conviction of a death-row inmate. No matter. Morris films dont need Oscars validation to stand tall among the American movies of the last 25 years. Nor do they need some genre classification to help us understand what they are.
The Fog of War is, I think, Morris most vital work yet on the subject of our national identity a soaring, tumbling somersault through 87 years of American history, distilled into 11 lessons from the life of former U.S. Secretary of Defense Robert McNamara, who didnt just bear witness to those years, but helped to shape many of them. Interviewed by Morris via his patented Interrotron (basically a modified Teleprompter that allows his subject to stare directly into a real-time image of Morris face, rather than at a naked camera lens), McNamara weaves a tale that is part biography, part political thriller and nearly all cautionary tale a story (Morris has wryly called it a tragic Horatio Alger story) of our countrys sometimes laudable, often reprehensible quest for manifest destiny.
L.A. WEEKLY: Why Robert McNamara?
MORRIS: Why not McNamara?
Well, he is somewhat different from your usual subjects, in that hes someone whos spent the better part of his adult life in front of the camera, honing his image. Did you feel that you were able to get past that veneer?
You dont know. Theres always that question: Is this interview different than the other interviews? In some respects it clearly is, because theres new information here. I also think that the nature of the interview is probably different from the interviews McNamaras done in the past, simply because its so extensive just the sheer quantity of interview material. Its not a simple question-and-answer format where hes fielding questions from the news pool. Hes being asked to reflect on the meaning of his life.
This is a man, however, who, near the end of your own film, says that its his personal philosophy never to answer the question hes asked, but rather to answer the question he wishes hed been asked.
What puzzles me is this idea that it has to be one or the other. What I find interesting is that people, when they look at the film, feel thrown back into the question: Is he being ingenuous or not? And I think whats so deeply fascinating about this style of interviewing is that that remains an open question. If people come to me and ask, Has McNamara gone as far as he should? whatever that means or Has he confronted these issues completely? then the answer is no. But if the question is Has he made the attempt? Is he involved in this enterprise?, then the answer is yes. Not that these issues are not in the film. They are in the film. And not that I think they shouldnt be addressed. They should be addressed. But I dont want to see what I believe is also very important in this movie get lost because of that namely, what hes telling us about us. You know, the history of the 20th century according to Robert McNamara is a history of bumbling, self-deception, confusion, error, false ideology, false hope a history with surprising relevance for the current situation that were in.
What distinctions exist for you between truth and fiction in the cinema? Or is it folly to search for such distinctions?
I think it is folly, for a number of reasons. That doesnt mean I dont think truth is important. I think its very important. In fact, many of my films have been a pursuit of truth. But I have my own version of Godards quote about cinema being truth 24 times per second. My version goes: Film is lies 24 times per second. I think that The Fog of War, like The Thin Blue Line, is a very odd film that tries to do a number of things that I dont think are often done. One thing is the idea of interviewing just one person, where the focus becomes not so much Is he telling the truth? although that is part of it but more important, What was he thinking through all of this? Who is he? Then theres a really deep question to be asked: How can people do these things? And the movie, in a certain way, provides an answer to that question.
Get the This Week's Top Stories Newsletter
Every week we collect the latest news, music and arts stories — along with film and food reviews and the best things to do this week — so that you'll never miss LA Weekly's biggest stories.