JFK as God

Rating: 6/10 (27 November 2000)

Blossoming mushroom clouds drenched in sunset-orange open Thirteen Days of panic and the imminent possibility of nuclear war. Following almost every movement of Costner as Kenny O'Donnell, JFK's special political advisor, the film retells how Krushchev, or others in the Russian administration of the time, and the US Chief of Staffs took the world close to nuclear war. And how JFK and others stopped them.
With a punchy script, inspired by supposedly primary source material, Donaldson deftly weaves a narrative of political intrigue that shows America's military commanders content, even eager, to take the US into war if it means an initial strike on the 'commie b*****ds'. It is left to the triumvirate of the two Kennedies and O'Donnell, a close relationship the film explores well, to keep cool heads and so avoid nuclear catastrophe. But it is for JFK to realise and stress that any offensive strike would be futile and go on to create a so-called 'new political language' to solve this horrific situation. A language not borne out of a desire for annihilatory attack but of measured military action. In this case a flexing of naval muscle through a 'blockade' of Cuba.
The film reveres JFK as an almost untouchable hero (as the final scenes of the film make abundantly clear), yet at the centre of the film is a celebration of the common American man that is Costner's character. It shows a political process undermined by a scheming Pentagon but restored through the temperate attitude and solid values of a good Christian (albeit we assume Catholic) family man who sees public office as the highest achievement. And it is he, the man the audience can identify with rather than sit in awe off, who provides the advice, pep talks and emotional sustenance to keep JFK wise, alert and sane. O'Donnell is even portrayed as closer to JFK than Jackie Onassis, notably absent from the majority of the film. This exalted position shown by Costner's vetoing and then reinstating of various of Jackie's friends for a birthday party at the start of the film, and a humorous interchange where, like husband and wife, JFK and O'Donnell bicker over morning toast. Costner seems more like JFK's wife and first lady than political advisor. And together with Teddy it is these three modern non-military men who 'win' the battle within the White House and without against the Soviets. It is their fight that lets common sense and good American values prevail.
But it is these American values that although are entirely honourable, in the end add up to a sickly sweet portrayal suggesting an almost divine miracle inspired by the Kennedy administration. It is an absorbing and well-crafted political drama for the highest stakes yet in the end it reverts to a self-centred belief that the 'best man won'. The achievements of the three, Teddy to the side and Costner in the wings helping the gifted JFK, cannot be denied, but neither can the so dramatic, glorious and one-sided depiction that is Thirteen Days. But that is what winning is about. And it is thanks to them, and thanks to God, that the sun will rise another day.