A biopic that teaches humanity

Rating: Null/10 (2 May 2001)

(Spoiler Alert) Despite the attention brought about by the unseemly dangling from boom mikes, the film's significance cannot be detracted from its almost pedantic take on a historical account of an incident which could have altered the very essence of humanity just some generation and a half ago. Looking beyond the gung-hoism effect it brings off from the audience so caught up with an unbilled Michael Fairman's "hell freezes over" comment (cue in Pullman's spiel from Independence Day), Roger Donaldson has given those of us who vaguely recall the CMC incident a reason to celebrate life, and the rest of us too young to have been through it another to comprehend the intricate dynamics of communication lines between a prudent president and his efficacious administration.
There have been criticisms from some quarters that the only woman of import in the whole movie was the unnamed, un-American individual in a military costume sitting across from O'Donnell. Considering the focal stress on a military-industrial complex which could have so destroyed the world were it not for men of goodwill, there is indeed a good deal of gender worship in the movie.
O'Donnell is the quarterback for not just the Kennedys but ostensibly also for the world, and despite what has been claimed as an overplay on the weight of a mere Special Assistant, his influences must be perceived as cosmetically morale-lifting - the sort one would expect from a trusting confidante. As usual, JFK gets the standard hagiographical treatment, and the Joint Chiefs are sadly but factually painted in a warmongering and burlesque manner. The Bay of Pigs and Stevenson's episode with the UN are interestingly left out though.
There will likely be comparison with the other TV-movie on the CMC, but Greenwood and Culp's performances as the brothers are on the money. Costner's Bostonian accent is, to be fair, no worse than Depp's swashbuckler in Chocolat or Pitt's in Snatch, and giving a Kennedy a cameo role as a pilot on a surveillance mission is also a good trivia nugget. Bartkowiak's excellent cinematographical work should be noted as well, as should the careful attention to detail bar a few illustrations of a Vulcan II and such.
Saggy sentimentalism on O'Donnell's family notwithstanding, the film creates a good balance of telling a simple tale with an airtight script and great cast. Of course we all know the ending, but tell me - why are so many people enthralled enough to buy a copy of this for the family viewing shelf?
Welcome back Kevin.