W. Joseph Campbell

Posts Tagged ‘Cinema’

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Proxies for reality: Fact-based films and their mythmaking potential

In Cinematic treatments, Debunking, Murrow-McCarthy myth, Washington Post, Watergate myth on January 7, 2013 at 12:03 pm

The Sunday “Outlook” section of the Washington Post usually is such a ZeroDarkThirty_posterjumble of thumbsucker essays and middling book reviews that it deserves just passing attention.

What made yesterday’s “Outlook” an exception was an engaging critique of Zero Dark Thirty, the controversial new movie about the CIA’s years-long hunt for terror leader Osama bin-Laden.

The critique, written by former CIA official Jose A. Rodriguez Jr., suggests anew the mythmaking capacity of fact-based films. “Inevitably,” Rodriguez writes of Zero Dark Thirty, “films like this come to be seen by the public as a sort of proxy for reality.”

And that’s especially troubling because, as Rodriguez also points out:

“One of the advantages of inhabiting the world of Hollywood is that you can have things both ways.” Publicity for Zero Dark Thirty emphasizes that it rests upon careful research, Rodriguez notes; at the same time, the film’s screenwriter, Mark Boal, has insisted it’s “not a documentary.”

Carefully researched, yet with enough fictional or imaginative elements so that it’s no documentary: Such have been the ingredients of mythmaking by the cinema.

All the President’s Men offers a compelling example.

The hero-journalist myth of Watergate — the notion that the dogged investigative journalism of Washington Post reporters Bob Woodward and Carl Bernstein brought down Richard Nixon’s corrupt presidency — was propelled and solidified by the cinematic treatment of Woodward and Bernstein‘s 1974 book, All the President’s Men.

The movie version was fact-based, but certainly no documentary treatment of Watergate (even though the Post once referred to the film as journalism’s “finest 2 hours and 16 minutes“).

As I note in my media-mythbusting book, Getting It Wrong, All the President’s Men the movie offers “a neat, tidy, and vastly simplified account of the Watergate scandal, one that allowed viewers to sidestep the scandal’s complexity while engaging in an entertaining storyline.”

The movie dramatized the reporting of Woodward and Bernstein while ignoring the far more decisive contributions of federal investigators, special prosecutors, and Congressional investigative panels.

The omissions made for a cleaner storyline — and promoted a media-centric myth that not even Woodward embraces.

“To say that the press brought down Nixon,” Woodward once told American Journalism Review, “that’s horseshit.”

WordPress_FreshlyPressed logoAll the President’s Men was made in 1976 and remains the most-viewed cinematic treatment of Watergate —  a “proxy for reality” about how America’s greatest political scandal was rolled up. It’s Watergate simplified.

Rodriguez says in his commentary that the makers of Zero Dark Thirty get a lot right: Notably, they “portray the hunt for bin Laden as a 10-year marathon, rather than a sprint ordered by a new president.”

His principal concern is the movie’s depiction of the interrogation of captured al-Qaeda operatives. The interrogation scenes early in the movie “torture the truth,” he writes, adding:

“The film shows CIA officers brutalizing detainees — beating them mercilessly, suspending them from the ceiling with chains, leading them around in dog collars and, on the spur of the moment, throwing them on the floor, grabbing a large bucket and administering a vicious ad hoc waterboarding. The movie implies that such treatment went on for years.

“The truth is that no one was bloodied or beaten in the enhanced interrogation program which I supervised from 2002 to 2007. Most detainees received no enhanced interrogation techniques, and the relative few who did faced harsh measures for only a few days or weeks at the start of their detention.”

I’ve not seen Zero Dark Thirty. But Rodriguez’s critique seems well-reasoned. He advises theatergoers to recognize “that Zero Dark Thirty is more than a movie and less than the literal truth.”

I’d shift the obligation somewhat, away from moviegoers: It behooves the makers of fact-based movies to stipulate that “fact-based” doesn’t mean factual, that even high-quality cinematic treatments simplify and distort.

Fact-based movies ought not be served up in effect as history lessons for the public.

These are hardly new concerns, of course. “Is it possible,” Richard Bernstein wrote in 1989 in an essay in the New York Times, “to have successful cinema and good history at the same time?”

Perhaps, Bernstein added, “the rule of thumb is this: When artists, intentionally or not, distort the known facts to get an effect, either political or commercial, they are on the wrong side of the line between poetic truth and historical falsification. Artists who present as fact things that never happened, who refuse to allow the truth to interfere with a good story, are betraying their art and history as well.”

Ideally, fact-based movies would be so compelling as to stimulate interest and curiosity, to encourage passive theatergoers to find out more about the subject, to conduct some research on their own.

Doing so isn’t always easy; but it can be an antidote to cinematic mythmaking.

WJC

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The media myths of Watergate: Part Four

In Anniversaries, Cinematic treatments, Debunking, Media myths, Newspapers, Quotes, Reviews, Washington Post, Watergate myth on June 20, 2012 at 7:40 am

This is the fourth of five posts addressing prominent media-driven myths about the Watergate scandal, which began unfolding 40 years ago this week, with
the foiled burglary at the headquarters
in Washington of the Democratic National Committee.
This installment addresses the notion that the Watergate reporting of Bob Woodward and Carl Bernstein
placed the reporters in grave danger.

No film or documentary about Watergate has been seen more often by more people than All the President’s Men, the 1976 adaptation of the eponymous book by the Washington Post’s lead reporters on the scandal, Bob Woodward and Carl Bernstein.

The movie won rave reviews. The New York Times called it “a spellbinding detective story” and “an unequivocal smash-hit — the thinking man’s Jaws.”

The Post once immodestly described All the President’s Men as “journalism’s finest 2 hours and 16 minutes” and “the best film ever made about the craft of journalism.”

For all its glowing notices, All the President’s Men was often sluggish in pacing. More than a few scenes showed reporters at their desk, talking into telephones and banging away at typewriters.

Hardly gripping cinema.

But a measure of drama and menace was injected near the close of the movie (see video clip below).

http://www.youtube.com/watch?feature=player_embedded&v=NVNU5jkOwzU

That came when Woodward’s stealthy, high-level “Deep Throat” source, at a meeting in a darkened parking garage, grimly warns the wide-eyed reporter, played by Robert Redford:

“Your lives are in danger.”

But was it even true? Had Woodward and Bernstein, in their reporting about the misdeeds of men close to President Richard Nixon, unknowingly put their lives on the line? Were they targeted by Nixon’s henchmen? Or was this just dramatic license by Hollywood?

The movie leaves such questions hanging. The Woodward/Redford character informs the Bernstein character (played by Dustin Hoffman) about what “Deep Throat” said, and together they confer with the Post’s executive editor character (Jason Robards) — in the middle of the night, in the middle of the editor’s lawn.

But the movie closes before resolving the question of the hazards the reporters faced.

So were their lives really in danger?

Nope.

Not according to the book, All the President’s Men.

The book discusses a late-night meeting between Woodward and “Deep Throat” in mid-May 1973 when the source — W. Mark Felt, a senior official at the FBI, as it turned out — advised the reporter to “be cautious.”

Woodward returned to his apartment and invited Bernstein to stop by. When he did, Woodward typed out a message and handed it to his colleague:

“Everyone’s life is in danger.”

Bernstein gave a curious look and Woodward typed another note:

“Deep Throat says electronic surveillance is going on and we had better watch it.”

Who was doing the surveillance? Bernstein asked in long hand.

“C-I-A,” Woodward silently mouthed.

For a time afterward, the reporters and senior editors at the Post took precautions to avoid the suspected surveillance of their activities.

Woodward and Bernstein wrote in All the President’s Men that they “conferred on street corners, passed notes in the office, avoided telephone conversations.”

But soon, they said, “it all seemed rather foolish and melodramatic” and they went back to their routines.

No evidence, they wrote, was ever found “that their telephones had been tapped or that anyone’s life had been in danger.”

At a program last week at the Newseum, Woodward said he took Felt’s warning “too literally. I think he was speaking metaphorically” about the hazards.

“I think it was an overreaction,” Woodward said.

On another occasion — an online chat five years ago — Woodward said the “most sinister pressure” he and Bernstein felt during Watergate “was the repeated denial” by Nixon’s White House “of the information we were publishing” as the scandal deepened.

Also in that chat, Woodward said of the cinematic version of All the President’s Men:

“The movie is an incredibly accurate portrait of what happened.”

Oh, sure, it is.

Even that Post review, which called the movie journalism’s finest 2 hours and 16 minutes, noted that All the President’s Men “over-glamorizes reporting, oversimplifies editing and makes power appear the only proper subject for a newsman’s pen.”

WJC

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Assessing the propellant effect: Was Watergate a powerful stimulant to journalism?

In Anniversaries, Debunking, Scandal, Washington Post, Watergate myth on March 10, 2012 at 4:34 am

The April number of Vanity Fair brushes against an entrenched media myth in declaring that the cinematic depiction of the Washington Post’s Watergate reporting stimulated great interest in careers in journalism.

Vanity Fair, April 2012

Alas,Vanity Fair offered no data or documentation to support its claim.

Instead, the magazine referred broadly to “the noble, sleeves-rolled sleuthing of Robert Redford and Dustin Hoffman as [Bob] Woodward and [Carl] Bernstein in All the President’s Men,” saying the movie which came out in 1976 “prompted legions of baby-boomers to dream of careers in journalism.”

Legions?

Anecdotally, it’s not uncommon to hear that the movie, or Woodward and Bernstein’s award-winning reporting for the Post, did inspire boomers to become journalists.

But beyond impression and anecdote, what supports the claim that Watergate reporting — or All the President’s Men — was a powerful stimulant for career-seeking in journalism?

Not much, as it turns out.

As I discuss in my latest book, Getting It Wrong (which includes a chapter on what I call the heroic-journalist myth of Watergate), two scholarly studies about enrollments in collegiate journalism programs found no evidence that Watergate was a propellant.

Enrollment data are reasonably good proxies, in that they would have captured heightened interest in careers in the profession. If Watergate and All the President’s Men inspired broad interest in careers in journalism, evidence of the stimulus should be apparent in surging in college enrollments.

But the evidence is not there.

A study conducted for the Freedom Forum media foundation and released in 1995 found that “growth in journalism education result[ed] not from specific events as Watergate … but rather to a larger extent from the appeal of the field to women, who ha[d] been attending universities in record numbers. The growth also in part reflect[ed] the applied nature of the field and its link to specific job skills.”

The study’s author, Lee Becker and Joseph Graf, stated flatly:

“There is no evidence … that Watergate had any effect on enrollments.”

A separate study, conducted by veteran journalism scholar Maxwell E. McCombs and published in 1988, reported that “the boom in journalism education was underway at least five years before” the Watergate break-in in 1972.

McCombs also wrote:

“It is frequently, and wrongly, asserted that the investigative reporting of Woodward and Bernstein provided popular role models for students, and led to a boom in journalism school enrollments. The data … reveal, however, that enrollments already had doubled between 1967 and 1972….”

I write in Getting It Wrong that the notion that Watergate reporting made journalism appealing and sexy endures “because it seems irresistibly logical and straightforward— too obvious, almost, not to be true.”

The presumed stimulus on journalism is an appealing yet simplistic story, easy to grasp and easy to understand.

And such characteristics — easy to grasp, easy to understand — often are propellants. Propellants of media-driven myths.

WJC

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‘Follow the money’ and the power of cinema

In Cinematic treatments, Debunking, Media myths, Washington Post, Watergate myth on January 8, 2012 at 9:17 am

No film about the Watergate scandal has been viewed by more people than All the President’s Men, the cinematic paean to the Washington Post and the reporting of Bob Woodward and Carl Bernstein.

And no single line from All the President’s Men has proved more memorable and quotable than “follow the money.”

The line is so compelling that it’s often thought that “follow the money” was genuine and vital advice offered by the stealthy, high-level source whom the Post code-named “Deep Throat.”

Except that it wasn’t genuine advice.

“Follow the money” was invented for the movie.

The line was spoke by Hal Holbrook, the actor who played “Deep Throat” in All the President’s Men. (The real “Deep Throat” was self-revealed in 2005 to have been W. Mark Felt, a senior FBI official.)

Although it is fundamentally a contrivance, “follow the money” is granted no small measure of reverence, as suggested by a commentary posted the other day at a blog of London’s Guardian newspaper.

The commentary in its opening paragraph declared :

“The famous advice of Deep Throat to Woodward and Bernstein in the dark underground car park during the Watergate investigation applies to the world of politics as much as it does to investigative journalism. ‘Follow the money,’ the FBI agent Mark Felt is said to advised the two Washington Post reporters.”

“Deep Throat” the source met Woodward a half-dozen times in 1972 and 1973 in a car park — a parking garage — in the Rosslyn section of Arlington, Va. That’s true.

But “Deep Throat”/Felt was exclusively Woodward’s source. Bernstein met Felt only a few weeks before Felt’s death in 2008.

And Felt never advised Woodward to “follow the money.” That he did is cinema-induced pseudo reality.

Not only that, but Felt as “Deep Throat” wasn’t all that vital to the Post’s reporting on Watergate, which won a Pulitzer Prize in 1973.

We know that from Barry Sussman, the Post’s lead editor on Watergate, who wrote in 2005:

“Deep Throat was nice to have around, but that’s about it. His role as a key Watergate source for the Post is a myth, created by a movie and sustained by hype for almost 30 years.”

Note the passage, “created by a movie.”

All the President’s Men is more than an engaging, mid-1970s film that has aged admirably well. As Sussman noted, the movie certainly helped propel the myth of “Deep Throat” — and make famous “follow the money.”

The film — which the Post once described as journalism’s “finest 2 hours and 16 minutes” — also was central in promoting and solidifying the heroic-journalist myth of Watergate.

As I discuss in my latest book, Getting It Wrong, the heroic-journalist myth is the notion that Woodward and Bernstein’s reporting brought down the corrupt presidency of Richard Nixon.

Which is an interpretation of Watergate that not even the Post embraces.

As Woodward once said in an interview with American Journalism Review:

“To say the press brought down Nixon, that’s horse shit.”

But it’s clear, I write in Getting It Wrong, that the cinema “helped ensure the myth would live on by offering a neat, tidy, and vastly simplified account the Watergate scandal, one that allowed viewers to sidestep the scandal’s complexity while engaging in an entertaining storyline.”

Indeed, what could be more straightforward and understandable than a story featuring two young reporters guided by a shadowy source who, oracle-like, advises them to “follow the money”and helps them bring down a crooked president?

It’s Watergate simplified, Watergate made easy.

But it’s also a far-fetched and distorted version of America’s greatest political scandal.

WJC

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The military’s ‘fabrication’? No, Jessica Lynch was WaPo’s story

In Jessica Lynch, Media myths, Washington Post on January 5, 2012 at 9:15 am

A passage in a recent  essay at a Washington Post blog demonstrates just how insidious the notion is that the military made up the hero-warrior tale about Army private Jessica Lynch in the early days of the Iraq War.

The Post’s higher education blog, “College Inc.,” cited “the fabrication of the story of Jessica Lynch” as an example of “a serious problem in the military’s relationship with the civilian world.” (The essay discussed what the author called the “shrill insistence by the military on its own virtue.”)

Lynch in 2003

The author, a Naval Academy professor named Bruce Fleming, also invoked the case of Pat Tillman — an Army Ranger killed slain by friendly fire in Afghanistan — in asserting:

“This is lying to the people the military is meant to protect, and who pay for it. It is absolutely, completely, unacceptable. Yet it now has become common.”

Strong stuff.

But it’s exceedingly the top in the case of Jessica Lynch: The claim that the military made up the tale of her battlefield heroics is seriously misstated. And more than faintly ironic, given that it was the Washington Post that reported Lynch had “gone down firing,” that she had fought ferociously in the ambush of her unit, the 507th Maintenance Company, in southern Iraq in March 2003.

It was the Post — citing otherwise anonymous “U.S. officials” — that claimed Lynch had “shot several enemy soldiers” in the ambush.

It was the Post that said Lynch “continued firing at the Iraqis even after she sustained multiple gunshot wounds and watched several other soldiers in her unit die around her” in the fighting.

It was the Post that placed the electrifying heroic-warrior tale about Lynch on its front page of April 3, 2003, beneath a headline that read:

“‘She was fighting to the death.'”

It was the Post — alone — that placed the story into the public domain.

And none of it was true.

Lynch was neither shot nor stabbed. She suffered shattering injuries in the crash of a Humvee as it attempted to flight the ambush. But she fired not a shot in the attack.

Lynch was taken prisoner, but rescued nine days later from an Iraqi hospital by U.S. special forces.

The Post for its part has never fully explained how it got so utterly wrong a story that was picked up by news organizations around the world, turning the unsuspecting Lynch into the best-known Army private of the war.

However, as I point out in my latest book, Getting It Wrong, we know from one of the Post reporters on the Lynch story that the military wasn’t pushing the hero-warrior story.

That reporter, Vernon Loeb, said in an interview on NPR’s Fresh Air program in December 2003:

“Our sources for that story were not Pentagon sources.”

He also said in the interview:

“They wouldn’t say anything about Jessica Lynch.”

Loeb added:

“I just didn’t see the Pentagon trying to create a hero where there was none. I mean …they never showed any interest in doing that, to me.”

On another occasion, Loeb was quoted in a commentary in the New York Times as saying:

“Far from promoting stories about Lynch, the military didn’t like the story.”

The author of the Times commentary was Mark Bowden, who wrote the critically acclaimed Black Hawk Down, a book about the failed U.S. military mission in Somalia in 1998 1993. Of the Lynch case, Bowden said in his commentary:

“There is no doubt that the American media took these bits and pieces from the fog of war and assembled them into a heroic tale. … This is how the media works today, for better or worse. It happens without any prompting from the Pentagon.”

What, then, explains the persistence of the false narrative that military concocted the hero-warrior tale about Lynch?

Part of the answer lies in a dim understanding about the military and its ways. Few Americans have much first-hand knowledge about the armed services and warfare. Such limited familiarity can lead to the embrace of flawed narratives and misleading caricatures.

The Post’s erroneous account of Lynch as a female Rambo pouring lead into attacking Iraqis was cinematic — and more than vaguely reminiscent of scenes in the 1996 motion picture Courage Under Fire.

Another part of the answer lies in the news media’s tendency to shift blame away from major mistakes. As media critic Jack Shafer has pointed out:

“The rotten truth is that media organizations are better at correcting trivial errors of fact — proper spellings of last names, for example — than they are at fixing a botched story.”

The false narrative that the military concocted the Lynch tale has enabled the Post to dodge accountability for a botched story still oozes venom, suspicion, and misunderstanding.

The newspaper’s unwillingness to set the record straight by  identifying the sources that led it awry has given rise to false claims, including those about the military’s “fabrication.”

WJC

Many thanks to Instapundit Glenn Reynolds, and to smalldeadanimals.com and Blackfive.net, for linking to this post.

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Talking media myths on ‘Community Voices’

In Debunking, Media myths, Media myths and radio, Newspapers, Washington Post, Watergate myth on September 3, 2011 at 3:14 pm

The exaggerated tales of Watergate, Hurricane Katrina, and crack babies were the principal media myths I discussed the other day in an interview on KPCW Radio in Utah.

The interview focused on those chapters of my latest book, Getting It Wrong, and was conducted by Larry Warren and Linda Gorton on their  “Community Voices” show.

I noted early in the interview that the “animating force” in American journalism is to get the story right and that Getting It Wrong “is associated with that ethos of truth-telling, of seeking to get the story right.”

The interviewers quickly turned to Watergate, asking whether the reporting of Bob Woodward and Carl Bernstein for the Washington Post was what indeed drove President Richard Nixon to resign in 1974.

“That is the dominant narrative of Watergate,” I pointed out, adding that’s also a very simplistic explanation for rolling up what was a complex scandal.

“To unravel the complexity and the intricacy of Watergate,” I said, “took all kinds of forces, most of them subpoena-wielding — federal prosecutors, the FBI, bipartisan panels of both houses of Congress, ultimately Supreme Court, which forced Richard Nixon to surrender the evidence which clearly showed that he had conspired with top aides to try to cover up the investigation into the Watergate break-in, the signal crime of the scandal.

“Against that backdrop, the contributions of Woodward and Bernstein fade into relative insignificance,” I said.

Another reason that Watergate’s dominant narrative focuses so squarely on Woodward, Bernstein, and the Washington Post is, I said, the cinematic version of the reporters’ book, All the President’s Men.

It surely is the most-watched movie ever made about Watergate, and “it really does focus,” I noted, “on the work of Woodward and Bernstein to the exclusion” of the forces and factors that were truly decisive in bringing down Nixon’s corrupt presidency.

“I think we know,” Warren interjected, “that you’re not going to be invited to Mr. Woodward’s for dinner anytime soon.”

“You know,” I replied, Woodward “has said something to the effect of, ‘to say the press brought down Richard Nixon is total nonsense.’ He used earthier terms to make that point.”

The reference to Woodward’s comment in an interview in 2004 with American Journalism Review in which he asserted:

“To say the press brought down Nixon, that’s horse shit.”

I also discussed the notion that news coverage of Hurricane Katrina was superlative, that it supposedly “demonstrated the value and importance of traditional news media, both print and broadcast, at a time of disaster. And Hurricane Katrina was no small storm. It was no [Hurricane] Irene, that’s for sure.”

But I added:

“The coverage of Hurricane Katrina was no high heroic moment in American journalism because, on many important elements of that story, the news media got it badly wrong.”

The hurricane’s death toll was “wildly exaggerated,” I noted, adding that the “apocalyptic reports that the news media put out in the days after Hurricane Katrina’s landfall proved to be largely untrue.

“There were no snipers firing at medical personnel, no snipers firing at [rescue] helicopters. No bodies stacked up like cordwood, no children with their throats slashed. No roving gangs preying on tourists. No sharks plying the flood waters of New Orleans.

“All these reports were out there,” I said, but in the end “none of them was verified or substantiated.”

The erroneous and exaggerated reports of violence in post-Katrina New Orleans in some cases had the effect of delaying the arrival and delivery of aid to the storm-stricken city, I noted.

The social disaster that the news media anticipated in the purported — and widely misreported — “crack baby” epidemic never took place, I pointed out.

More than one news commentator, I said, described as a “bio-underclass” the generation that would come of age after having been exposed to crack cocaine in the womb. These children supposedly would be so mentally and physically deformed as to be forever dependent on the state.

“The news media were spectacularly wrong about the crack baby epidemic,” I said, noting that news reports in the late 1980s and early 1990s “pushed very hard on preliminary evidence suggesting there was a powerful linkage between taking crack during pregnancy and subsequent deformities in children.”

To their discredit, I added, the news media never went back in a sustained and systematic way to undertake to dismantle the crack-baby myth — “even after consensus had taken hold among scientists and biomedical researchers that [prenatal] exposure to crack was not this destructive force that preliminary research had suggested.”

WJC

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Following the money on 37th anniversary of Nixon’s fall

In Anniversaries, Cinematic treatments, Debunking, Media myths, Washington Post on August 9, 2011 at 12:55 am

Nixon resigns, 1974

It’s somehow fitting on this, the 37th anniversary of President Richard Nixon’s resignation, to direct attention to the myth and hyperbole that embrace the best-known line of the Watergate scandal, the line that supposedly helped bring him down.

That line, of course, is “follow the money,” which purportedly was crucial advice given the Washington Post by a super-secret, high-level source code-named “Deep Throat.”

“Follow the money” was said to have been so telling and effective that it’s still cited as exemplary guidance applicable in journalism, politics, and finance.

Just yesterday, for example, Barry Nolan, a journalist and contributor to Boston Magazine’s “Boston Daily” blog, invoked the famous phrase, writing:

“Any time you really want to know why a vote happened the way it did, the single best piece of advice ever given came from ‘Deep Throat,’ the shadowy tipster in the Watergate scandal. ‘Follow the money,’ he told the Washington Post reporters.”

It may seem like stellar advice, but it’s guidance that the “Deep Throat” source offered only in the movies.

As I’ve discussed at Media Myth Alert, “follow the money” is Watergate’s most famous made-up line.

The phrase was written into the screenplay of All the President’s Men, the 1976 cinematic version of the book by Bob Woodward and Carl Bernstein of the Washington Post.

“Follow the money” appears nowhere in Woodward and Bernstein’s book about their Watergate reporting — reporting that did not, as I discuss in my latest work, Getting It Wrong, take down Nixon’s corrupt presidency.

Nor did “follow the money” appear in any Watergate-related news article or editorial in the Post until June 1981, nearly seven years after Nixon’s resignation.

Nor did “Deep Throat” — who was self-identified in 2005 as W. Mark Felt, formerly the FBI’s second-ranking official — utter the line in his periodic meetings with Woodward. (And Felt/”Deep Throat” didn’t meet Bernstein until 2008.)

“Follow the money” was memorably intoned not by Mark Felt but by Hal Holbrook, the actor who played “Deep Throat” in All the President’s Men.

As I’ve noted, Holbrook turned in a marvelous performance as a tormented, conflicted, and stealthy “Deep Throat.”

Holbrook delivered the “follow the money” line with such conviction and steely assurance, that it seemed for all the world to offer a way through the labyrinth of the Watergate scandal.

But even if Woodward had been counseled to “follow the money,” the advice certainly neither would have unraveled Watergate nor led him to Nixon.

Nixon resigned 37 years ago today not because he misused campaign funds but because he sought to obstruct justice by covering up the signal crime of Watergate, the break-in at the headquarters of the Democratic National Committee in June 1972.

The simplified follow-the-money  interpretation of Watergate effectively deflects attention from the decisive forces that ultimately forced Nixon from office.

As I note in Getting It Wrong, rolling up a scandal of Watergate’s intricacy and dimension required “the collective if not always the coordinated forces of special prosecutors, federal judges, both houses of Congress, the Supreme Court, as well as the Justice Department and the FBI.

“Even then,” I write, “Nixon likely would have served out his term if not for the audiotape recordings he secretly made of most conversations in the Oval Office of the White House.

“Only when compelled by the Supreme Court did Nixon surrender those recordings, which captured him plotting the cover-up” that cost him the presidency.

WJC

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India high court order invokes phony Watergate line

In Debunking, Furnish the war, Media myths, Washington Post, Watergate myth on August 2, 2011 at 9:48 am

Two Supreme Court judges in India last month turned to Watergate’s most famous made-up line in ordering an investigation into large sums of money believed stashed in banks abroad.

The judges in their order cited the made-up line as if it had been genuine advice from a high-level source to Bob Woodward of the Washington Post  during the newspaper’s investigation of the Watergate scandal.

The line is “follow the money” — and it had no role whatsoever in the Watergate scandal.

“Follow the money” was never uttered by Woodward’s stealthy source, who was code-named “Deep Throat.”

The line appears nowhere in the All the President’s Men, the book Woodward and Carl Bernstein wrote about their Watergate reporting for the Post.

Nor did the passage appear in any Watergate-related news article or editorial in the Post before June 1981 — nearly seven years after the scandal reached its denouement with President Richard Nixon’s resignation.

“Follow the money” was written into the screenplay of All the President’s Men, the 1976 movie based on Woodward and Bernstein’s book.

Many people and many news outlets over the years have cited “follow the money” as if it were real, as if it had been advice to Woodward that really worked.

Just last week, for example, a column in London’s high-brow Financial Times newspaper described “follow the money” as the “mantra” of Watergate. And a column posted at Huffington Post a couple of weeks ago also repeated “follow the money” as if it had been vital guidance to uncovering Watergate.

But finding its way into a high court order probably represents a first for “follow the money.”

As noted in a Bloomberg news service report yesterday, the two judges — B. Sudershan Reddy and S.S. Singh Nijjar — invoked “follow the money” at the outset of the order they released early last month.

Credulously, the judges wrote:

“‘Follow the money’ was the short and simple advice given by the secret informant, within the American Government, to Bob Woodward, the journalist from Washington Post, in aid of his investigations of the Watergate Hotel break in.”

So how is it that such errors are made? What explains the impressive reach and popularity of this appealing but contrived statement?

A partial explanation is that “follow the money” seems just too good, too delicious, not to be true. It’s in the class of William Randolph Hearst’s purported vow to “furnish the war” with Spain: It’s a quotation that really ought to true.

And as I point out in my media myth-busting book, Getting It Wrong:

“To thwart media myths, journalists can start by applying a measure of skepticism to pithy, telling quotes such as Hearst’s vow to ‘furnish the war.’ … Turns of phrase that sound too neat and tidy often are too perfect to be true.”

The popularity of “follow the money” goes beyond appealing pithiness and is rooted in the dramatic quality of All the President’s Men, the most-watched movie ever made about Watergate.

The “Deep Throat” character was played in All the President’s Men by the actor Hal Holbrook, who turned in a marvelous performance.

In a late-night scene in a darkened parking garage, the shadowy, raspy-voiced Holbrook told the Woodward character (played by Robert Redford):

“I have to do this my way. You tell me what you know, and I’ll confirm. I’ll keep you in the right direction, if I can, but that’s all.

“Just follow the money.”

Holbrook delivered the line with such quiet insistence that it truly seemed to offer a way through the labyrinth of the Watergate scandal. And the popularity of the movie carried “follow the money” into the vernacular.

But such guidance, had it really been offered to Woodward, would have taken the reporter only so far. Watergate, after all, was much broader than the improper use of campaign monies.

Nixon was toppled not by heroic journalists who followed a money trail, but by irrefutable evidence captured on audiotapes that he had ordered the cover up Watergate’s signal crime, the break-in at the headquarters of the Democratic National Committee in June 1972.

WJC

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The Fin Times and the ‘mantra’ of Watergate

In Cinematic treatments, Debunking, Media myths, Washington Post, Watergate myth on July 28, 2011 at 7:33 am

The single phrase associated most often with Watergate surely is “follow the money” — guidance supposedly given to Washington Post reporters covering the scandal in the early 1970s.

“Follow the money” also is the best-known made-up line of Watergate.

The statement is only as real as images projected on the screen: “Follow the money” was written into the screenplay of All the President’s Men, the cinematic version of the Watergate book by Post reporters Bob Woodward and Carl Bernstein.

But because it sounded so compelling, because it seemed to be such crucial guidance to unraveling the dimensions of Watergate, “follow the money” made a smooth transition from cinematic fiction to the vernacular.

So it’s commonly believed that “follow the money” was guidance uttered by the  Post’s high-level secret source, who was code-named “Deep Throat.”

The usually sober and usually well-reported Financial Times of London yesterday invoked “follow the money” as if it were genuine, stating in a column on financial matters:

“’Follow the money’ might have been the mantra for Bob Woodward and Carl Bernstein in investigating the Watergate scandal. But ‘follow the debt’ would be a better way of summing up where investors should be looking for the next bubble.”

We’ll leave “follow the debt” to bubble-seeking investors.

What intrigues Media Myth Alert is the reference to “follow the money” as the “mantra” of Watergate.

No way was it Watergate’s “mantra.”

The line appeared in no Watergate-related news article or editorial in the Post until 1981 — nearly seven years after Watergate had reached a climax with the resignation of President Richard Nixon.

Moreover, “follow the money” appears nowhere in Woodward and Bernstein’s book about their Watergate reporting. The book came out in June 1974, a couple of months before Nixon quit the presidency in disgrace.

So the phrase was no “mantra.”

What pressed “follow the money” into the vernacular was the marvelous performance of actor Hal Holbrook in the cinematic version of All the President’s Men.

Holbrook played a conflicted, shadowy, even tormented “Deep Throat” character. In a memorable, late-night scene in a darkened parking garage, Holbrook told the Woodward character (played by Robert Redford):

“I have to do this my way. You tell me what you know, and I’ll confirm. I’ll keep you in the right direction, if I can, but that’s all.

“Just follow the money.”

Holbrook delivered the “follow the money” line with such quiet conviction that it seemed to be a guide to unraveling the labyrinthine scandal that was Watergate.

Bernstein (Newseum photo)

But had it really been offered to Woodward (“Deep Throat” never met Bernstein during Watergate), “follow the money” would have taken him only so far.

Watergate, after all, was much broader than the misuse of campaign funds.

What ultimately brought down Nixon was  his plotting to cover up the signal crime of Watergate — the break-in at the headquarters of the Democratic National Committee in June 1972.

As I note in my latest book, Getting It Wrong, rolling up a scandal of Watergate’s dimension required “the collective if not always the coordinated forces of special prosecutors, federal judges, both houses of Congress, the Supreme Court, as well as the Justice Department and the FBI.

“Even then,” I write, “Nixon likely would have served out his term if not for the audiotape recordings he secretly made of most conversations in the Oval Office of the White House.”

Only when compelled by the Supreme Court did Nixon surrender the Watergate-related recordings that captured him plotting to cover up the Watergate break-in.

Heeding advice to “follow-the-money” scarcely would have enabled investigators to uncover the decisive evidence about Nixon’s misconduct.

WJC

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More media myths from CounterPunch

In Bay of Pigs, Debunking, Furnish the war, Jessica Lynch, Media myths, Washington Post, Watergate myth on July 24, 2011 at 8:30 am

CounterPunch touts itself as “America’s best political newsletter.”

It’s building a reputation for indulging in media-driven myths, too.

Since mid-March, essays posted at CounterPunch have:

CounterPunch has indulged yet again in media myth, in a commentary in its weekend edition about Rupert Murdoch’s troubled media empire.

CounterPunch claimed the tough old media mogul has “surpassed William Randolph Hearst,” press baron of the 19th and early 20th centuries, “in practicing yellow journalism.”

The commentary invoked the hoary media myth about Hearst’s purported vow to “furnish the war” with Spain.

According to CounterPunch, Hearst said: “Get me the photos and I’ll get you the war.”

That was, CounterPunch added, “Hearst’s 1898 dictum to help start the Spanish-American War.”

Provocative tale. But it’s pure media myth.

Hearst’s vow is almost surely apocryphal, for reasons I discuss in my myth-busting book, Getting It Wrong, which came out last year.

Among the reasons:  The telegram that supposedly contained Hearst’s vow — a cable sent to artist Frederic Remington, on assignment to Cuba — has never turned up.

More significantly, as I point out Getting It Wrong, the anecdote about Hearst’s purported vow suffers from “an irreconcilable internal inconsistency.”

That is, it would have been absurd and illogical for Hearst to have vowed to “furnish the war” because war — specifically, the Cuban rebellion against Spain’s colonial rule — was the reason he sent Remington to Cuba in the first place.

In addition, the Spanish colonial authorities who ruled Cuba closely controlled and censored incoming and outgoing telegraphic traffic: They surely would have intercepted and called attention to Hearst’s incendiary telegram, had it been sent.

But in fact, there was, as I write in Getting It Wrong, no chance that telegrams would have flowed freely between Remington in Cuba and Hearst in New York.

So “furnish the war” (or, “provide the war”) wasn’t at all Hearst’s “dictum to help start the Spanish-American War.”

That Hearst helped bring on the war with Spain is a media myth, too.

It’s a myth dismantled in my 2001 book, Yellow Journalism: Puncturing the Myths, Defining the Legacies, in which I pointed out that the yellow press of Hearst and his rival, Joseph Pulitzer, “is not to blame for the Spanish-American-War.

“It did not force — it could not have forced — the United States into hostilities with Spain over Cuba in 1898.

“The conflict was, rather, the result of a convergence of forces far beyond the control or direct influence of even the most aggressive of the yellow newspapers, William Randolph Hearst’s New York Journal.”

The proximate cause of the war was the humanitarian crisis created by Spain’s bungled attempts to quell a rebellion that had begun in Cuba in 1895 and had spread across the island by 1897, when Remington arrived in Havana on assignment for Hearst.

WJC

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