The brilliant Humberto Fontova tells a story in one of his books (I believe it’s Exposing the Real Che Guevara and the Useful Idiots Who Idolize Him), about guitarist Carlos Santana being confronted once about wearing the iconic Che T-shirt. After deservedly getting an earful about what a murdering coward Che was, and how the counterculture’s favorite revolutionary icon despised musicians and artists like Santana himself, an irritated Santana reportedly sputtered, “You’re just hung up on the facts, man.”

In a recent article entitled “Washington-Set Films May Fudge Facts, But Good Ones Speak To Larger Truths,” the Washington Post’s Ann Hornaday discusses how D.C. audiences composed of political insiders scrutinize Hollywood’s D.C.-based historical dramas for fidelity to the facts. “Myth or reality?” she asks. “That’s the question posed by movies based on true events, and it’s a conundrum that Washington officialdom seems to have a perennial problem in reconciling.” As examples, she references such films as Charlie Wilson’s War, Thirteen Days, All the President’s Men, and of course, Oliver Stone’s controversial oeuvre: JFK, Nixon, and W. (I can’t tell you how long I’ve been wanting to use the word “oeuvre” in one of my blogs).

History buffs and D.C. insiders may nitpick about such films, but as Ms. Hornaday writes, “You don’t have to support Stone’s signature brand of revisionism to agree that overweening literalism can sometimes obscure a larger truth.” (more…)

So when two scrappy DC journalists bring down a President, it’s turned into “All the President’s Men,” winning accolades and Oscars. When an unemployed single mother of three takes the fight to an energy giant, it becomes a blockbuster vehicle for Julia Robert’s cleavage. And when a former Vice President exposes man’s inhumanity toward Mother Earth – “An Inconvenient Truth” crowns him the most majestic whistle blower ever.

But when two amateur journalists (in their early twenties, poorly dressed as sex workers, with under two grand in their budget) casually take down a sleazy behomoth that leeches off American taxpayers, you’d think Hollywood and the media would be all over this. I mean, what Hannah Giles and James O’Keefe did to Acorn – leading to the House approving to cut off all their funding – is the whistle blowing film to end ALL whistle blowing films. These two kids did what Michael Moore could never come close to accomplishing: uncovering lurid incompetence, affecting policy, and saving Americans millions of dollars. (more…)

My earlier essay on intentional inaccuracies in the Frost/Nixon movie bemoaned the fact that this sort of quasi-documentary has such dramatic impact-because people actually “see” the invented wrongdoing-that it outweighs any writings constrained by actual fact. 

Perhaps the best example of this comes from the 1976 movie, “All the President’s Men,” produced by Robert Redford and starring Redford and Dustin Hoffman as cub Washington Post reporters Bob Woodward and Carl Bernstein.  

The movie was a dramatization of Woodward and Bernstein’s 1974 book by the same name that chronicled the investigative reporting that led to the resignations of Bob Haldeman and John Erhlichman.  The book was a best-seller in its own right-especially after their editor suggested the early drafts needed something more catchy and they hit upon the idea of naming Woodward’s secret source of government information after the recent pornographic movie, “Deep Throat.”  (more…)