The voice of skepticism is sorely missed in Oliver Stone’s credulous bio-pic, “Snowden.” But Stone doesn’t really do skepticism, characters playing the Devil’s Advocate, contrary voices.
He didn’t have that to impedge his groveling before Hugo Chavez in the documentary he made about the Venezuelan populist/strongman. He didn’t let facts get in the way of his grand Vast Right Wing Conspiracy epic, “J.F.K.”
So why start with “Snowden,” a hagiography celebrating the ego-tripping “moralist” who exposed the vast U.S. data-sweeping capabilities to journalists bent on embarrassing the bulwark of liberty facing down a sea of anarchy, Islamo-fascism and unreconstructed communist dictatorships?
But as lopsided as the film is, depicting the NSA/CIA contract “leaker” as the greatest friend privacy rights and freedom ever had, he makes plenty of sturdy moral arguments, the ones that allegedly drove the then-29-year old to put himself above an elected government with (supposed) checks and balances and expose the country to ridicule by its friends and subversion by its enemies.
As Snowden’s intel-mentor, drolly performed by Rhys Ifans, puts it to his new charge just as Snowden is joining the intel war, “If there is another 9/11, it’ll be your fault.”
Indeed. Snowden and his fellow bomb-throwing vandal Julian Assange 0f Wikileaks are exposing those who won’t kill them for telling their secrets, leaving the great criminal enterprises, outlaw states and murderous cyber-barbarians of every religious and Russian stripe all but untouched.
But I digress. When the filmmaker’s opening title describes the film as “dramatized” from actual events, not even bothering with “Based on the true story” or “inspired by the true story,” you have to wonder what you can believe. And based on Stone’s and Snowden’s record of spin, it all starts to play like agitprop — a $4 word best abbreviated as “B.S.”
Joseph Gordon-Levitt dons glasses and cleverly colors his voice into Snowden’s tech savant drone, portraying a patriotic soldier unfit for the Special Forces job he craved, but who finds his niche in Sig-Int, Signals Intelligence. He’s a self-taught programmer/hacker/decoder who dazzles his mentors (Ifans and Nicolas Cage) and supervisors, earning promotions and more and more prominent postings.
Shailene Woodley is the leftist girlfriend the young conservative bickers with and loves. Shailene is a smart actress who relishes any role that lets her play a full-fledged adult, so naturally there’s a nude love scene.
Zachary Quinto is crusading paranoid (perhaps with cause) journalist Glenn Greenwald, Melissa Leo is the documentary filmmaker who joined Snowden, Greenwald and a veteran British newspaper reporter (Tom Wilkinson) in a Hong Kong hotel room where they schemed to unleash the story of this vast data gathering operation on the world.
Cell phone and Internet companies turning over tracking data, backdoor entryways and bulk email and phone records to the USA, sweeping sweeps of personal records that span the globe and the US, it was all news to us. Computer cameras activated by remote control, real-time observing of often innocent people who might have three, four or five degrees of separation from someone with ties to illicit activity.
Good stuff, important to get out there. But…Except, well, maybe a lot of people figured their electronic footprint was no place for privacy. And in a war with ruthless cyber-states like China, North Korea and the hacking haven of Russia, well, who is naive enough to think there won’t be excesses?
“Most Americans don’t want freedom,” Ifans, this film’s version of the all-knowing/all-pontificating Donald Sutherland spook of “J.F.K.,” intones. “They want security.” Here’s another, delivered as he is literally and hilariously made to embody Big Brother (on a giant TV screen), “Secrecy is security, and security is victory!”
Well, sure. And if the film makes the case that this is a conversation we’ve avoided having and shouldn’t avoid, bravo Oliver Stone. But he’s not content there, no. This is a Snowden of pure heart, purer motives, purer still methods — he goes out of his way to leave a “trail” so that his Intel colleagues won’t be implicated in his espionage. It’s hagiography.
This is “Snow White” (a colleague’s nickname for him, or was it?) Snowden, not the self-satisfied, morally superior attention whore who would rather flee, with the aid of China, to Russia on his way to Ecuador, rather than face the music and force this debate in open court. You know, the Snowden we’ve seen on TV, interviewed freely by all media comers.
The film presents the various waypoints of Snowden’s career, the ways he picked up intel outside of his paygrade, his rising paranoia that he and he alone has put the whole nefarious picture together in his head, and his difficulty keeping his free spirit lady love from posting nude self-portraits on her hard drive.
Yes, “Terrorism is the excuse” for everything he found a threat to our liberties — the judge, jury and executioner drone strikes driven by simple suspicious cell-phone numbers (according to Snowden), the spying on businesses, governments, looking for vulnerabilities to exploit.
Perhaps America would be safer had Snowden just read a few good spy novels to understand the moral grey area of all of this sort of work. It’s not pretty, and he’s not Jesus Christ on a Laptop.
The over-arching accusations — some of which have been borne out, others discounted utterly — the suspicion he applied to everyone and everything — UNTIL he meets some journalists of various stripes, whom he instantly tells “I TRUST you” — the patriotic kid whose patriotism turned from conservative combat ambitions to “saving” us from our intel state tyranny — it’s all just too hard to swallow, even if Stone, as usual, shoves it down our throats.
And only Oliver Stone would insist that we do — swallow it — without bothering to chew over the facts first.
MPAA Rating:R for language and some sexuality/nudity
Cast: Joseph Gordon-Levitt, Shailene Woodley, Rhys Ifans, Zachary Quinto, Melissa Leo, Tom Wilkinson, Joely Richardson, Timothy Olyphant,
Credits: Directed by Oliver Stone, script by Kieran Fitzgerald and Oliver Stone. An Open Road release.
Running time: 2:08