Thirteen Days (2000) 3 1/2 stars out of 4. Starring Kevin Costner, Bruce Greenwood, Steven Culp, Dylan Baker, Michael Fairman, Kevin Conway, Christopher Lawford and Len Cariou. Music by Trevor Jones. Written by David Self. Directed by Roger Donaldson. Rated PG-13.
The trick with doing movies about historical events is making them interesting enough to hold the attention of an audience that ó going into the feature ó already knows the outcome.
With lesser known historical events ó such as in Glory ó or events from the more distant past, more dramatic license can be taken.
But with events that are fresher in peopleís memories, such as Ron Howardís superb Apollo 13, the trick is to involve the audience in the behind-the-scenes nuts-and-bolts that helped create or shape the event as we know it.
Such is the case with Thirteen Days, a nail-biting retelling of the Cuban missile crisis. The movie delves into the machinations and policy decisions that took us from the brink of World War III ó and probable nuclear annihilation ó to a rational, peaceful resolution.
What makes Thirteen Days so watchable is that it builds suspense, not so much from the situation ó we know what is happening and going to happen there ó but from the conflicts, arguments and clashes amongst the men entrusted with and burdened by having to make decisions that could lead ó literally ó to the end of the world.
Of course, since this is a movie, dramatic license must be taken. And that is the crux of another problem. For no distinction is made between fact and fiction.
When a group of generals leave a White House briefing and complain about the Kennedys leading this nation to ruin, is that a report of a factual conversation or a writer's invention to show the military's disdain for President John F. Kennedy?
Questions such as these are the movieís minor distraction.
The story of Thirteen Days is told from the viewpoint of Kenny OíDonnell (Kevin Costner), President Kennedyís main political adviser. So, since he is played by Costner has OíDonnellís role in events been exaggerated or is what is shown on screen the part he really played in these harrowing events? We donít know because the film expects its audiences to accept everything as factual.
Perhaps, these are nitpicks. After all, the overall picture is correct. The Soviets did bring offensive missiles into Cuba, the U.S. and U.S.S.R. went eye-to-eye, they blinked and the missiles were withdrawn.
The bigger picture matches what the history books say.
Thirteen Days is an actor's showcase, especially for two reliable, but not box-office name performers: Bruce Greenwood as President Kennedy and Steven Culp as his brother, Attorney General Robert Kennedy. Greenwood, best known as the star of the short-lived Fox series Nowhere Man as well as for playing Ashley Juddís villainous husband in Double Jeopardy, stands head and shoulders above any other actor who has portrayed Kennedy. Here he plays a young president who is still untested, who really has not gained the respect of those ó especially in the military and intelligence communities ó who supposedly are under his command.
Greenwood shows the burden of decision making actually weighing down Kennedy as he takes to his rocking chair to ruminate on what course to follow and the consequences of whatever action he chooses.
Culp is dynamic as the younger brother who pushes the presidentís advisers to devise a solution that does not include military action or escalation. He is the moral voice, keeping a leash on the military who so eagerly want to invade Cuba to make up for the Bay of Pigs fiasco.
Either or both are deserving of Academy Award recognition in the supporting actor category.
And then there is Costner. His Boston accent is atrocious and amateurish. He almost stalls the entire production whenever he is on screen and opens his mouth. It would have been better if he had just taken his producerís credit and not stepped in front of the camera.
David Selfís script is riveting, capturing the tension of not only the men in power, but of a nation as a whole as it gears itself for the unthinkable. He accomplishes this through images such as churches holding around-the-clock confessionals and common people reading the newspapers, their brows furrowed, worry creeping onto their faces and fear into their eyes.
Director Roger Donaldsonís does a very good job of staging scenes of verbal confrontations; the best being the famous U.N. debate in which U.S. Ambassador Adlai Stevenson (a wonderfully understated performance by Michael Fairman) confronts the Soviet ambassador at a Security Council meeting over the issue of missiles in Cuba.
Donaldsonís one misstep was his decision to fade from color to black and white during certain scenes involving either the Kennedys or one of the brothers with OíDonnell. It seemed arbitrary and distracting.
These minor faults, though, should not detract from the overall power of Thirteen Days. It is a grim reminder of how close we came to self-destruction, as well as a triumphant celebration of man's ability to stare into the brink and have the courage, fortitude and intelligence to avoid his folly and back away.
Bob Bloom is the film critic at the Journal and Courier in Lafayette, IN. He can be reached by e-mail at bloom@journal-courier.com or at bobbloom@iquest.net. More of Bloom's reviews can be found at www.jconline.com at golafayette. Reviews by Bloom also can be found on the Web at the Internet Movie Datebase site: http://www.imdb.com/M/reviews_by?Bob+Bloom
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