STUDIO 360

I recently saw Oliver Stone's JFK docudrama. Would you say it was a pretty sound portrayal of the facts or not?

It's very tempting to accept it was very accurate but I've not looked at the other side of the story so I shouldn't get too carried away with any judgement about it.

If you HAVE seen it, would you say it is pretty sound -or deeply flawed? Why*

*IMPORTANT - please CITE any serious issues you mention: internet forums are notorious for not to worry about 'details' like meaningful evidence! I'm not interested in hollow unsubstantiated opinions. Thanks in advance.

You can prove this for yourself..... watch the Zebruder film..... first thing that happens is JFK grabs his throat with both hands.....then you see the BACK of his head blow off....he was shot from the FRONT not the back..... any marksman will tell you the entrance wound is small the exit wound is big.. the fatal shot probably came.....NOT from the grassy knoll.....but the storm drain.....the bullet trajectory fits the film

Beyond that..... to make three shots.....through the trees.....from the book repository.....with a blot action rifle......and hit a moving target in the time frame given......impossible

Finally Mafia boss Giancona confessed on his death bed..... the mob hit JFK..... one of the shooters confessed also when he died.....

Oliver Stone tries to enlighten Bill Maher-6/18/2010

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Oliver Stone $5.99 The creative force behind some of the most widely debated classics of modern film: Midnight Express, Platoon, Wall Street, Born on the Fourth of July, The Doors, JFK, Natural Born Killers, Nixon Oliver Stone is one of the most controversial, yet most honoured, filmmakers of our time. No director has tackled so many controversial subjects and no director has attracted so much criticism for his methods and their results. What makes him both the critics' bte noir and a perennial Oscar contender? Why does Hollywood both lionise and vilify him? Is he the conscience of Hollywood, or is he a pretentious opportunist cashing in on false liberalism? Do his films break new technical ground artistically, or is he just a hack trying to use tricks to cover up weak points in his stories? Stone appears to court controversy, yet in many ways has been a very traditional Hollywood filmmaker, working within the system. He has presented himself as a cinematic moralist, yet his personal life has been one of excess. He embodies many of the contradictory characteristics of the '60s impulses he is accused of propagating, indulging them while castigating the ways they have been absorbed into the American mainstream. American outlaw? Iconoclastic artist? Or is he someone who can refine social and political issues into Hollywood genres? The Pocket Essential Oliver Stone explores all these questions, reviewing and analysing each of Stone's movies, going behind the scenes to examine the arguments his movies have raised and adding some thought-provoking insights to the world of modern cinema's most infamous son.

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Virgin Film: Oliver Stone $16.48 Three-time Oscar winner Oliver Stone is one of the most controversial and well-known contemporary American directors. He began his professional life as a screen writer and was responsible for the scripts of Midnight Express and Scarface. As a director he made one of the all-time great Vietnam war movies, Platoon, and went on to helm such definitive cinematic works as Wall Street, Born on the Fourth of July, JFK, Natural Born Killers and, most recently, Alexander - an epic biography of the legendary Greek king starring Colin Farrell and Anthony Hopkins. This indispensable guide takes each of Stone's writing and directoial features in chronological order, discussing them within categories such as Casting, Cut Scenes, Music Conspiriacy Theory? and Controversy. It looks at the inspiration behind his work, its connection with the real world and the story behind each film's development. Whether the subject is war, politics, sport or the defining aspects of an era, Stone is an expert at polarising audience views. This is an essential reference for all fans of Oliver Stone, writer, director and one of the most influential filmmakers of the last twenty-five years.

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Oliver Stone: Interviews $7.4 Throughout his career Oliver Stone (b. 1946) has broken traditions and challenged audiences with a series of daring, angry, violent, and often confrontational films. Politically charged movies such as "Nixon" (1995), "JFK" (1991), and "Wall Street" (1987), and his Vietnam trilogy of "Platoon" (1986), "Born on the 4th of July" (1989), and "Heaven and Earth" (1993) provoke and enrage critics and audiences from all ideological walks. In a short time, Stone has established himself as one of the most admired and most reviled directors in American cinema. Ranging from 1981 to 1997, the fifteen conversations featured in "Oliver Stone: Interviews" reveal a man frustrated by what he sees as the hypocrisies of American politics, of conservatism, and of the Hollywood film industry. But the conflicts and tensions these issues generate spellbind him. In the interviews, Stone comes off as a man as brash, outspoken, confident, and complicated as his movies. His obsessions -- the 1960s, the ways in which Vietnam shaped the country, the nature of violence, and the role of the media in shaping it -- resurface again and again, no matter what film Stone is discussing. Though the subjects of "Nixon," "JFK," "Born on the 4th of July," "The Doors" (1991), and "Heaven and Earth" are rooted in the turbulent 1960s, Stone as interviewee and filmmaker is firmly entrenched in the present. He fiercely discusses how the attitudes and political effects of the 1960s have defined later decades and generations, as he talks about his satire of the stock market ("Wall Street," 1987) and media exposure ("Natural Born Killers," 1994). Bolts of the director's raw wit and enthusiasm for the cinema shine through all of Stone's ferocious rage. Stone loves writing as well as directing. Whether discussing his screenplays written for other directors -- which include "Scarface" (1983), "Midnight Express" (1978), or "Conan the Barbarian" (1982, with director John Milius) -- or his own films, Stone emphasizes how crucial screenwriting is to making great movies. "Directing is a natural extension of writing," he says in a 1987 interview with Michel Ciment. "A director can always pull through with noise everywhere and his colleagues around. I don't think a good director can make a good film with a bad screenplay, but a bad director can deliver an acceptable film if he has a good screenplay. So for me, that's the number one priority." Charles L. P. Silet is a professor of English at Iowa State University.

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Oliver Twist $5.53 The editor has corrected printers' errors and annotated unfamiliar terms and allusions. Three illustrations by George Cruikshank and a map of Oliver's London accompany the text. "Backgrounds and Sources" focuses on The Poor Law Amendment Act of 1834, central both to Dickens and to the characters in Oliver Twist. The act's far-reaching implications are considered in source materials that include parlimentary debates on The Poor Laws, a harrowing account of an 1835 Bedfordshire riot, and "An Appeal to Fallen Women," Dickens' 1847 open letter to London's prostitutes urging them to turn their backs on "debauchery and neglect." Ten letters on Oliver Twist, written between 1837 and 1864, are reprinted, including those to the novel's publisher, the novel's illustrator, and John Forster, Dickens' close friend and future biographer. In addition, readers can trace the evolution of the novel by examining Dickens' installment and chapter-division plans and enjoy "Sikes and Nancy," the text of a public reading Dickens composed and performed often to large audiences. "Early Reviews" provides eight witty, insightful, and at times impassioned responses to the novel and to Oliver's plight by William Makepeace Thackeray and John Forster (anonymously), among others. "Criticism" includes twenty of the most significant interpretations of Oliver Twist published in this century. Included are essays by Henry James, George Gissing, Graham Greene, J. Hillis Miller, Harry Stone, Philip Collins, John Bayley, Keith Hollingsworth, Steven Marcus, Monroe Engel, James R. Kincaid, Michael Slater, Dennis Walder, Burton M. Wheeler, Janet Larson, Fred Kaplan, Robert Tracy, David Miller, John O. Jordan, and Gary Wills. A Chronology and Selected Bibliography are also included.

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