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Home , Errol Morris, Robert McNamara, The Fog, The Fog of War

The Fog of By Betsy McLane about Weapons of Mass Destruction lies by the George W. Bush administration were “War is the realm of uncertainty; three compared to the disinformation of the War quarters of the factors on which action in . For many, Academy Award is based are wrapped in a fog of greater recognition of Morris was long overdue. or lesser uncertainty.” Military His work had been critically praised and Philosopher Carl Von Clausewitz (1780- highly regarded by filmmakers since his first 1831) quoted by McNamara in film, (1978). of War wrote of , “I believe it is one of the greatest films ever made.” Omission from Oscar “Reprinted by permission of the author nomination of Morris’ widely acclaimed and the Academy of Motion Picture Arts The Thin Blue Line (1988) contributed to and Sciences" the hue and cry that eventually led to changes in documentary nominating procedures. In 1989 the film world claimed : Eleven Lessons from the shock when the Times reported, Life of Robert S. McNamara, released "at the committee screening, enough theatrically in December, 2003, was Errol members raised their hands to have the film Morris’ seventh documentary feature. The (The Thin Blue Line) stopped before it was story, about the work of (now late) Robert S. completed." Much has changed at the McNamara, former Secretary of Defense Academy since then. during the Administrations of Presidents

Kennedy and Johnson, takes the form of a however, continues to make dialogue between 85 year old McNamara, notably individualistic films with seeming seen seated in a chair, and Morris, who is disregard to praise or prizes. Very few heard asking questions off screen, but is filmmakers are as good at eliciting and never seen on camera. Their conversation is presenting on camera interviews that appear illustrated, interrupted and expanded upon to be straightforward and truthful. And with Morris’ trademark recreations, a score very few filmmakers are as scrupulous as by renowned composer (in a Morris in keeping a personal life private. third collaboration with Morris), and One comes away from his films learning extensive use of graphs, archival nothing overt about their maker, although photographs, film footage, and most everything about the subject seems to be importantly audio tapes. The film is visually striking, presenting McNamara almost revealed. Morris’ background includes time as a graduate student in San exclusively in stark, bare surroundings. Francisco, and after completing Gates of Morris uses obvious jump cuts as a stylistic device to unify the interview. The Fog of Heaven and Vernon Florida (1981), a stint as a private detective. This job may have War underlines the fact that Morris’ is one sharpened his talent for investigating the of the world’s foremost contemporary unknown truths in a situation that seems on documentary makers. the surface to be obvious. He admits to

being an obsessive researcher, and there is Appearing approximately two years after the always at least one story within the story of 9/11 attacks, as the US was becoming mired an Errol Morris film. in the increasingly unpopular Second Iraq

War, The Fog of War felt timely, almost Morris’ earlier films present eccentric prescient. Its subject and filmmaking people who are willing to talk candidly with artistry commanded attention. Questions him about their rather marginalized interests.

From these seemingly trivial subjects emerge larger, often profound questions War in Vietnam, and Morris admits to about such topics as the nature of life, death, sharing that feeling at the outset of the morality, good, justice and evil. Each of his interviews. The film reveals, mainly films involves at least one mystery. In The through irrefutable evidence like a 1963 Fog of War the mysteries are many and far White House audio recording, that more complex and significant than in any McNamara was urging President , other of his films. Even the life or death “We need a way to get out of Vietnam. Set issues of miscarried justice in The Thin a date for removing all of our advisors and Blue Line (the only film ever to have freed get out by 1965. After the ’64 elections, get a wrongly imprisoned man) are eclipsed by out.” When Johnson becomes President, he the enormity and weight of the universal is able to assert his own will, also clearly moral questions posed in The Fog of War. revealed in the tapes, to carry on the war. At that point, McNamara, a deep believer in the In this film Morris engages one of the obligations of his job as Secretary of smartest, most powerful Presidential cabinet Defense, becomes ever more entangled in members of the 20th Century in an lies, losses of life, and eventually his own examination of war as prosecuted by resignation, or was it dismissal, from the American leaders during WWII in the Secretary’s post. Pacific, the , and the War in Vietnam. In part, it is loosely drawn The Fog of War also deals with other from McNamara’s own 1995 book In aspects of McNamara. His leadership of the Retrospect: The Tragedy and Lessons of and the introduction Vietnam, but the film’s voice is not of seat belts under his direction is almost McNamara’s, even though he is the only touching. His own rise from very ordinary person interviewed. The film is most beginnings to world power is a classic definitely an artwork by Errol Morris, quite American success story. There is a likely the finest he has produced. With revelatory story about General Curtis extensive archival footage, Morris’ trade- LeMay, under whom McNamara served mark shadowy recreations (dramatically lit directly as an aide during WWII. LeMay punch cards flip) and declassified White believed that U.S. firebombing of Japan House tape recordings (reel to reel tape would be considered war a crime if the US recorders turn), The Fog of War transforms lost, but that to win the war killing hundreds a two-person discussion of history and war of thousands of civilians was an acceptable into a deeply disquieting yet beautiful film cost. At the beginning of The Fog of War, essay. Morris points out in interviews that McNamara recalls his very first memory, the “eleven lessons” (#1 Empathize With age 2, when the country celebrated the end Your Enemy, #2 Rationality Will Not Save of WWI, “The War to End All .” Us, etc.) are his invention, not McNamara’s. Morris underlines the obvious irony of this McNamara insisted that Morris make this fact with archival footage of children distinction known whenever possible. The cheering at 1918 Armistice Day parades. film is crafted from at least 20 hours of War never ceases. The best we can do is to interview material. Morris was able to get find a way to live with it in our within our this extensive length of time with own conscience. As McNamara says: McNamara only after he edited together a piece from an initial 5 hours of interview for “One of the lessons of Vietnam was that we McNamara’s approval. And although as a people, as a nation, must learn to McNamara very much disliked the epilogue, empathize with others in the world— Morris insisted that it remain. particularly our opponents,” he said. “Sympathy is not a synonym of empathy: To many of Morris’ generation Robert Empathy means understanding; sympathy McNamara was the hated architect of the means agreeing or embracing. I don’t think we as a nation have learned to empathize.”

In addition to the Oscar, The Fog of War was also named Best Documentary by the National Board of Review, the Los Angeles Film Critics Association, the Film Critics, and the Washington D.C. Area Film Critics. The film was an official selection of the , Toronto Film Festival, Telluride Film Festival, and the Centerpiece Premiere Film of the Film Festival.

The views expressed in this essay are those of the author and do not necessarily represent the views of the .