Wag the Dog (28 page)

A wave of naval action sweeps across the screens. Lots of clips from
Victory at Sea,
the television documentary series, made from actual footage shot during the war. But then Charlton Heston and Henry Fonda walk right into the scenes.
⁶⁰

Center Screen. Next big plot point
⁶¹
—
The Longest Day—
D-Day.

Now the screens explode into action. Lots more color. Less black and white. More fun, less grim.
The Dirty Dozen, Kelly's Heroes, The Heroes of Telemark, Battle of the Bulge, The Bridge at Remagen, Operation Petticoat, Stalag 17, The Great Escape, War and Remembrance, The Guns of Navarone, Is Paris Burning?, Hell in the Pacific, Too Late the Hero, McHale's Navy.
Lots of stars, as if one of the secrets of the war was that they were all there, mixed in with the regular Joes.

Once again Beagle took all the other screens to black and returned to the center.

Once again Teddy was awestruck at how perfect the choice was.

The liberation of Paris. Real. Not staged. Spontaneous, not planned. An incredible moment, full of flowers and tears of joy, the pride of victory and women to kiss the victorious troops. They were images that made war worthwhile the way a baby's smile suddenly buries the pain a mother has had in giving birth. It was the Paris of our dreams, the America of their hope.

FADE TO BLACK.

Pause. Rest. Korea. Those mean, barren hills. The snow. GIs in heavy overcoats, caps pulled down low under steel helmets. Unshaven. The gooney-bird stare. Americans beaten. Americans in retreat. Not many good films out of that one. Not many films at all, in fact.
Men in War. Pork Chop Hill. All the Young Men. War
Hunt.
Documentary footage. Clips from
MacArthur.
Nothing on the Center Screen. All the images were small.

CUT TO: Vietnam.

News footage. In World War II most of the footage was shot by the armed forces. That meant they owned it and controlled it. In Vietnam it was shot by civilians. It was readily available and uncensored. Beagle filled up all the screens with the raw stuff of war.

Sound from Screen 2. A picture of a very ordinary-looking guy. “The first time that I knew I killed somebody was another incredible sense of power,” he says. “They were gooks, they weren't like you and me. They were things.” This was a documentary.
Frank: A Vietnam Veteran.
“When you go out at dusk . . . and you set up and you're quiet and you're waiting, you are the hunter, you are the hunter. There's this incredible, I mean
incredible,
sense of power in killing five people . . . the way I can equate it is to ejaculation. Just incredible sense of release: the
I
did this. I was very powerful. Everywhere I went, I had a weapon . . . I remember laying in bed, some woman on top of me, shooting holes in the ceiling. I mean really getting off on it. Where else, where else in the world did you have this kind of freedom . . . I was not Frank Barber, I was John Wayne, I was Steve McQueen, I was Clint Eastwood.”

Revelation. No one can stand that much reality.

CUT TO:
Fiction.
Born on the Fourth of July, 84 Charlie MoPic, Gardens of Stone, Go Tell the Spartans, Hamburger Hill, Platoon, A Rumor of War, Full Metal Jacket, Casualties of War.
He left the Center Screen, the big screen, blank. A flat black hole. He let the images run over him. These were some damn good directors. Stone, Kubrick, De Palma, Coppola, Scorsese, Cimino, the best. He let himself feel. It was not good. Legless cripples. Lies and mendacity. Burning children. He wallowed in it. Drugs. Drug addicts, crazed veterans with guns. The fiction was more garish than the news, but the story was the same. Rapes. Double veterans.
⁶²
Ambushes, booby traps, balls shot off. Burning huts.

Had it been that bad? Had all the ideals turned to madness and sadness. Had Americans become the Nazis. Occupying a foreign country. Taking reprisals on civilians. Lidice
⁶³
become My Lai. It must have been the Luftwaffe flying those B-52s, doing to Hanoi what they did to Rotterdam and London.

No progress, just morass. No conquest, just despair. Troops defying their officers, killing their officers. And their officers, mechanical monsters without, apparently, a clue as to how to win this war. Bigger bombs and smaller results.

Beagle abruptly shut it all off.

There was more. But Beagle wasn't ready to see it yet. Because it led inexorably to a conclusion? A call to action? A decision, after which he would have to come out of his room and face the world and find out if this time—at last—he had failed?

On the other side of the wall, Teddy Brody sat back, drained. He'd been watching this war shit for months now and he ought to have been immune to it. Certainly, he should have gotten over the shock of the Vietnam footage. He'd grown up post-Vietnam and come to consciousness during the period of revision that came so quickly after. By the time he was twenty, it somehow seemed that
only
the weirdos, the nutted-out, drugged-up, longhaired, rock 'n' rolling reefer fuckers had been against the war. In conspiracy with TV guys to betray the noble warriors. A quick
trip back in real time was too much reality. How did Americans go from John Wayne to that?

 

 

 

⁵¹
The Spanish-American War. If anyone remembers “Remember the Maine,” this is the war it came from. So did Teddy Roosevelt, the Rough Riders, and the Charge up San Juan Hill. The war was waged—America said—for the purpose of liberating Cuba. It's a rather forgotten war, but it's very interesting for a number of reasons:

1. It was a media-created war. Hearst and Pulitzer competed to create war fever because war sold papers. This was before television. Even before radio. So newspapers were not only influential, they were big business and made a lot of money.

2. It marks the beginning of the American Century. The U.S. took on a European power for the first time since being defeated by the British in 1812 and kicked the shit out of them. In the process:

3. The U.S. became a Two-Ocean Imperial Power, taking possession, from Spain, of the Philippines, Guam, Puerto Rico, and the Spanish West Indies. Cuba became an independent territory under the protection of the United States.

4. The U.S. fought its first war against “native” guerrillas. It turned out that many Filipinos were not ecstatic that liberation from Spain meant possession by the United States.

⁵²
“Although Germany had been defeated, Germany's propaganda remained intact: Germans were the best soldiers in the world. American filmmakers accepted the idealized view of the German soldier and perpetuated it. Until the late 1970s, the Germans in American war movies are always clean shaven, with every button of their tunics neatly closed. And they never even flinch during battle.” (Jay Hyams,
War Movies
[Gallery Books, 1984])

⁵³
Clyde Jeavons,
A Pictorial History of War Films
(Citadel Press, 1974). See also Hyams,
War Movies.

⁵⁴
Paul Virilio,
War and Cinema: The Logistics of Perception,
trans. Patrick Camiller, Verso. “. . . the most startling aspect of the project was
the creation of an artificial universe that looked entirely real
and the resulting production of the first and most important example ever of an ‘authentic documentary' of a pseudoevent. It is a stupendous revelation to realize that this whole enormous convention was primarily staged for the film.” (Amos Vogel)

“Preparations for the congress were fixed in conjunction with preliminary work on the film—that is to say, the event was organized in the manner of a theatrical performance, not only as a popular rally, but also to provide the
material
for a propaganda film . . .
everything was decided by reference to the camera.”
(Leni Riefenstahl)

⁵⁵
John Ford directed the version that was released. An earlier and longer version was directed by Gregg Toland, a cameraman who worked with Ford frequently. Toland's cut, critical of America's unpreparedness, was not released (i. e., it was repressed, banned) until 1991. Toland is generally given credit for creating and filming the special effects that make up the actual attack sequence.

⁵⁶
Most accounts state that the city of Rotterdam was leveled not as military necessity but as a demonstration to anyone who would dare oppose Nazi power, that is, to
terrorize
civilian populations and to paralyze the will of their enemies. The Germans filmed the destruction so that both friend and foe could see proof of the power of the
Wehrmacht.

⁵⁷
Virilio,
War and Cinema.
Hitler required the services of filmmakers and entertainers, but his greatest need was for those who could make the German people a mass of
common visionaries
“obeying a law they did not even know but which they could recite in their dreams” (Goebbels, 1931). Thus, while Roosevelt's New Deal America was using radio and film to regulate the “war of the home market” and to restart the industrial-production machine, Hitler was directing the millions of unemployed Germans to relaunch war as an epic. Others would make war to win, but the German nation and its masters already moved in a world “where nothing has any meaning, neither good nor evil, neither time nor space, and where what other men call success can no longer serve as a criterion” (Goebbels).

⁵⁸
“Lessons of Hitler's rise to power were not lost on American leaders. The use of propaganda was an integral part of the Nazi strategy and seemed at least partly responsible for Hitler's success.” Russell Earl
Shain, An Analysis of Motion Pictures About War Released by the American Film Industry,
1930-1970 [Arno Press, 1976]).

A German general said early in the war that the opponent with the best cameras would be the victor, and the U.S. War Department responded by spending an annual sum of $50 million on factual filmmaking in order to swing the odds America's way. Jeavons,
A Pictorial History of War Films.

⁵⁹
It's entirely possible that there are people who don't know the film
Casablanca.
It's set on the eve of Pearl Harbor, actually released in 1943, the first big year for war films, when Hollywood delivered about 115 of them. The story, though not told in this order, is this: Ilsa (Ingrid Bergman) is married to Victor Lazlo (Paul Henreid), a hero of the underground from Nazi-occupied Czechoslovakia. Lazlo is sent to a concentration camp. Ilsa hears he is dead. She then meets Rick (Humphrey Bogart) in Paris. They fall in love. The Germans arrive. Ilsa and Rick are supposed to leave together. She finds out Victor is alive. She doesn't show up. Rick leaves alone. He goes to Casablanca, where he opens a café and poses as a cynic. The town is run by a deliciously corrupt and genial policeman called Captain Renaud (Claude Rains). Victor and Ilsa and the Nazis all arrive. Rick gets to find out what happened in Paris, Ilsa is torn between love and duty. Rick must choose. He chooses to send Ilsa and Victor to safety together while he goes off to fight the fascists again. In the final scene he kills the head Nazi, Major Strasser (Conrad Veidt). This is witnessed by Captain Renaud—an official of the collaborationist Vichy government—who decides that it is time for him too to switch sides. He goes off with Rick. This is probably the best closing scene ever written. Woody Allen lovingly re-created it in
Play It Again, Sam.

⁶⁰
Midway,
filmed 33 years later with Sensurround sound and wide-screen cinematography, mixes in original 16-mm footage. A lot of the footage shot in the Pacific was in color. Virtually all the footage shot in Europe was black and white.

⁶¹
Hollywood is currently very much into story structure. Books, treatments, and scripts are analyzed by readers in terms of plot points—points where the plot turns. Are there enough? Are they in the right place? Other important buzz words, if you're planning to pitch, are
backstory, inciting incident, progressive complications, setups and payoffs, subtext.
These are courtesy of Robert McKee's screenwriting seminar. Everyone, it seems, in the business who can't write has taken McKee's course to figure out what people who can write should be doing. McKee has never written a screenplay that anyone will actually produce. Back in 1988 he charged $600 for a weekend seminar, $350 for one of his staff to produce a reader's report, $1,000 for a personal consultation on your script. So he makes quite a good living just for sounding off. There are lots of cute and ambitious young women in the audience, so presumably he gets laid a lot. And that, by almost everyone's standards, is a pretty good definition of success.