Cliff May looks at the unseen villains in Oliver Stone's upcoming World Trade Center:
The WSJ’s Brian Carney disagrees with KLo, me and several others writing in this space regarding Oliver Stone’s World Trade Center.As soon as I read that, I flashed back to James Bowman's review of Francis Ford Coppola's extended director's cut reissue of his late-1970s opus, Apocalypse Now Redux from 2001:
We never meet a single Vietnamese, for instance, who is not a victim of the Americans. Whom does [Coppola] suppose was shooting back? He keeps the enemy out of sight in order to make the American military effort—which seems to consist mainly of blazing away at the forest or the tall reeds along the banks of the river, or else innocent civilians—look not only futile but crazy. Like the phantasmagoria of the trip upriver, like everything else in the movie, the phantom enemy is designed to show us the futility, the insanity of the war. The enemy is everywhere and nowhere. It is insane to try to fight him.Coppola kept the enemy largely off-screen because he was, on some level, highly sympathetic to them. (He wasn't alone in Hollywood: while Coppola was shooting Apocalypse, his protégé, George Lucas, was transforming the Vietcong into Luke Skywalker and the rest of the good guy heroes in Star Wars.)
Certainly for Oliver Stone, keeping the terrorists off-screen in World Trade Center helps to hide, shall we say, an inconvenient truth or two--not the least of which are his own sympathetic views of terrorism's heart of darkness.
Update: Betsy Newmark asks a related question:
It's always been somewhat of a mystery why so many on the left just loooooove their man in Havana.Fortunately, of course, Stone could never be accused of that...
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