In a period that forces many of us to sit at home, in light of the "Covid-19 ج pandemic, and spread a lot about the failure of the US government and other governments to deal with the virus, there is nothing wrong with watching some films that dealt with the government's numerous attempts to cover up its continuing failures, and some These films are not the highest rated, but they have caught the truth in the way governments everywhere deal with their citizens.
America continues its battle against the Corona virus, and demonstrations fill the streets to condemn the police brutality and racism, and there are former members of the mini cabinet formed by Trump who denounce his leadership. There is a surrealism that surpasses all denial at the present moment, as police crimes recorded on cameras are accompanied by strange passages of the President of the country as he rushes to the church with a copy of the Bible in his hand, after the police used violence to release him from the demonstrators. Surveys say public confidence in the government has fallen to historical levels, a decline that began in the 1960s with the upheavals that accompanied the civil rights movement and the Vietnam War.
This suspicion has always been reflected in the mirrors of cinema, as Hollywood, especially in the early 1960s, depicted the leadership of the United States and its intelligence services with a sinister, evasive template that had grown bold over decades. Initially, some of the best twisted thriller and dramatic plot films in the past 50 years have been disdained as pieces belonging to the fantasy category by critics, and they are seen as movies that are barely more than films to kill time. But even the most heinous of these actions carries a wind of truth in its folds, and its severe suspicion of the authorities, but was based on real scandals surrounding the United States or rumors that the US government was involved in assassinations during foreign wars that cannot be completely refuted.
We put in your hands some of the best cinematographic efforts that have managed to capture that distrust for years, arranging them chronologically in order to notice the growing audacity of filmmakers over the decades.
- Director: John Frankenheimer - 1962, and Director: Jonathan Dimy - 2004.
John Frankenheimer's 1962 version of the film is a masterpiece of doubt and suspicion that accompanied the Cold War era, as the majestic army hero Raymond Shaw, who played the role of actor Lawrence Harvey, is brainwashed and turns into an inert spy for the Soviets. The story's boldness lies in its apparent disdain for empty national plays in American politics, which are so easily used to serve the purposes of Shaw's mother, Eleanor, who is starred by actress Angela Lansbury, who is thirsting for more power. As for the brilliant version of Demi in 2004, in which Danzel Washington played the role of a man who reveals a scandal, it moved from the Soviets to the big companies, with the involvement of a multinational company planning to get Shaw to power. And the message that the film carries - that it is easy to mislead Americans with scenes of the American championship - remains true even after more than 40 years have passed.
- Director: Mad Frankenheimer - 1964.
Frankenheimer's next movie of the Manchurian Candidate movie conceals the same skepticism toward the highest government centers, but it lacks the science-fiction angle to brainwash, and instead, the plot includes a military coup planned by the charismatic general, Bert Lancaster, against President Friedrich Marche who is trying to negotiate peace and disarmament Nuclear with the Soviets. Kirk Douglas plays the role of a Pentagon employee who discovers the plan and tries to break it down over a week of insane events. As in the rest of the government-thriller movies he directed, Frankenheimer wanted to say that America's supposed liberties were in the wind during the Cold War.
- Director: Costa Gavras - 1969.
While one of the greatest and greatest political acts of excitement may have been, the movie "Z" was produced during specific circumstances, and was aimed at criticizing the military junta that ruled Greece between 1967 and 1974. But the government depicted in the Costa Gavras movie interrupted viewers around the world, given that the film was released at the height of the Vietnam War and after a wave of protests that pervaded the United States in 1968. The film tracks an unidentified judge, played by actor Jean-Louis Trentignant, who is being investigated with dedication in The assassination of a left-wing politician, played by Yves Montane, despite the police insist that he died in a car accident while he was drunk. Trentignant succeeds in proving the murder, but his success is dispersed in a legal argument in the last scene of the film, in depicting a dark comic as much as a tragic how law works under the rule of dictatorships.
- Director: Alan G. Bakula - 1974
This movie is the second in Alan J's trilogy. The unofficial Bakula "Madness of Doubt", in addition to the 1971 movie "Clute", which deals with the issue of missing persons, and the movie "All the President's Men" issued in 1976, in a dramatic depiction of the Watergate scandal. Yet "The Disorganized Scene" is the most revealing and exciting movie of the trilogy, though its roots extend from the same sense of fear that dominated American policy in the 1970s. The movie begins with the dramatic assassination of a presidential candidate from the top space tower in Seattle, and a congressional committee soon rules that the assassin has acted alone, but a journalist, played by Warren Beatty, unveils the involvement of a mysterious company called Paralax. Horror quickly escalates, but the best part of the Bakula movie is extended-shot photography from Gordon Wells, which adds a tremendous threat from the empty halls and offices that Betty runs across, trying to avoid catching it while unknown Parallax agents apply to him.
- Director: Francis Ford Coppola - 1974.
The world on which Francis Ford Coppola's movie is isolated and chaotic, in which Harry Kewell, who starred as actor Jane Hackman, runs a surveillance equipment company from his dungeon home in San Francisco, locked himself behind a locked door with three locks and an anti-burglary, listening in on a conversation The two parties discuss their fear of being killed. Conceiving suspicion for the customers who appointed him, Harry goes on to a deeper kind of suspicion and mania, trying to decipher the true meanings of the words that have been heard. Coppola's film is a meticulously painted portrayal of the panic generated by the steady expansion of surveillance. It was released in the year that Richard Nixon resigned in the wake of the Watergate Records scandal, and perhaps better than the other Coppola's 1974 movie: The Godfather - Part Two.
- Director: Sydney Pollack - 1975
Robert Redford had reached the ultimate peak of stardom when this movie came out into the limelight, in the midst of films like "Sting", "How We Were", and "All the Men of the President", as he employed the American outlook in a flawless manner in this hectic excitement, That introduces him as an undercover CIA analyst finds himself in a hunt after his entire office crew has been shot for unknown reasons. Redford is the common man with the best possible shooting, he finds himself stuck in a trap of government conspiracies that he can barely comprehend, while Max von Seidou appears as the ideal opponent as the fierce European assassin assassin appointed by the CIA to eliminate the hero. Although the plot is in itself a comic model of Hollywood writing, but by 1975, introducing the US intelligence service as an enemy had become one of the things you find in the studios of the major entertainment industry.
- Director: John Schlesinger - 1976.
Many of the thrillers in the 1970s were ordinary people thrown into worlds they did not understand. Instead of cowboys, soldiers, and policemen in the past, Hollywood has resorted to journalists, opponents, and academics as we see in the character of Levi or "Baby", who was played by Dustin Hoffman, the hero of the movie "Long Race Man", a doctoral student in history He is involved in the case of a Nazi war criminal, played by Lawrence Olivier, who lives undercover under the protection of a secret government agency. Schlesinger's film is a tense rivalry between acting styles, as it incites the new Hollywood icon Hoffman against traditional theater legend Olivier. But at the same time he is an outspoken and powerful act, still famous for the scene in which Levi is tortured in the dentist's chair.
- Director: Brian de Palma-1981.
It is another great American action thriller centered on the audio business, but "Explosion" is a darker, more confusing form of skepticism and suspicion, and it is among my favorite films in Do Palma's work, where John Travolta plays Jack Terry, a technician. Film sound effects accidentally recording the circumstances of a political assassination while he was doing his job. As Jack analyzes the background noise of a crime he picked up, he discovers a plan to get rid of a presidential candidate, to dive seriously into each layer of the audio track in order to group the crime clips together. Obsession and surveillance have always been a major concern of De Palma as a filmmaker; He uses his camera as an action figure in the movie and tries to annoy his fans with unprecedented levels of voyeurism. "Explosion" is a detailed version of this style, and it belongs to a forgotten era (the Reagan assassination attempt) that made the movie explode at the box office in 1981, but it is one of the favorite works to date.
- Director: Oliver Stone - 1995.
Stone was at the forefront of providing the American public with suspicion of the government in the 1980s and 1990s by providing important work such as a “military platoon,” “born on the fourth of July,” and “JFK,” all of which were boiling sarcasm over the status quo, But probably the best subject in his aggressive and confrontational style of filmmaking was Richard Nixon, whose life was portrayed in a distinguished three-hour drama (though the director's version extends his time to three and a half hours). It is true that Anthony Hopkins does not resemble the main exterior in his role, but his simulations of him are adept though, through the introspection of the suspicion that distinguished this man behind closed doors. Stone's movie, like all its masterpieces, plays with history, to appear more dramatic than documentary. But that seems to be appropriate for Nixon, a president who has hidden behind his heavy public personality the fraud and intimidation he uses in order to stay in power.
- Director: Clint Eastwood - 1997.
In the 1970s, revealing the truth centered on the Vietnam War, the suppression of student protests, and suspicion of the intelligence community. But in the 1990s he often centered on public decency and sexual scandals, especially those related to the White House in the Clinton era. Eastwood's satirical excitement abounds with stars such as Jane Hackman, Ed Harris, and Laura Linney, and the shiny tale-building as well; A professional thief breaks into one of the palaces to testify, in the meantime, that the president, whom Hackman plays, is killing a woman with whom he has an affair. Then it soon takes unreasonable paths from that moment on, but it is exposed thanks to Eastwood's usual vigilance as he digs into the mold of the government to his core.
- Director: Barry Levinson - 1997.
In a work that may be the only comedy on this list, "Dog's Tail" is a terrifyingly intelligent satire for media manipulation, as it proves its reasonableness year after year. Designated to divert the attention of the media from a sexual scandal that extends the president, media manipulation professor Konrad Breen, who plays Robert Robert De Niro, assigns a Hollywood producer, Stanley Mots, who plays Dustin Hoffman, to fool a tricky war with Albania. TV screens with fake records in order to sharpen political support. Most of the film is laughable, in its reference to the symmetry of self-centeredness called for by the political misery of Conrad and the false pomp of Stanley. But the film takes a dark turn at its end, saving it from going on an unexpected path, depicting how far the government will reach to protect its image.
- Director: Rob Bowman - 1998.
No discussion of government excitement is complete without mentioning "Anonymous Files", the distinctive series of 1990s television that added every possible conspiracy theory from the past four decades and transformed it into an exciting weekly drama. The kidnappings of aliens, the assassinations of presidents, cooperation with the Nazis, the surveillance devices deployed throughout the planet are all present, all under investigation by stubborn FBI agents, Mulder whose role is played by David Duchovny and Scully played by Gillian Anderson, although they are met with disappointment by personalities Dodging the highest levels of power. The Bowman film version is running along the same time as the fragmented series, but it is also a wonderful act of arousing the individual investigation, by adding a bright glow to the adventures of Mulder and Scully filled with the atmosphere of suspicion that everyone is full of the series.
- Director: Tony Scott - 1998.
It goes without saying that Will State enemy brings together Will Smith, one of the 90's dustless stars in Hollywood, and Jane Hackman, who has starred in many conspiracies in the past decade. The film here carries a similar plot line; A government assassination of a presidential candidate captured by surveillance cameras leads to a criminal cover-up attempt that puts the good attorney Robert Clayton Dean, who plays Smith, in the life of government opponent Edward Layley, who plays Hackman, and tries to help him. But Scott turns this tale into deafening audio noises, filled with gun battles, glare from camera lenses, and active optics that set him apart as the director. A seed of doubt is present in the movie, but it is translated into something that can be shown on the screen of any country at the end of the week.
———————————————————————————————–
This report is translated from The Atlantic and does not necessarily reflect the location of Maidan.