[Sample B: Approval/Signature Sheet] - George Mason University

By focusing on the hatred and bigotry of the plotters in contrast with Kennedy’s
supposedly enlightened policies, Stone gives the slain president a heroic dimension.
While the film focuses on the assassination and Garrison’s attempt to solve the mystery,
the movie is called JFK, and not “Garrison,” “Oswald,” or “Shaw” – even though these
individuals appear on screen much more than the president. The underlying theme is
about what was lost in the murder of Kennedy and his unfinished legacy.
In the bar scene, we are shown news footage – recreated by Stone – in which we
are told of Oswald’s arrest as a suspect in the assassination and his statements to the
press, in which he insists he is just a patsy, and that he did not shoot anyone. “I
emphatically deny these charges,” he declares. Later, a drunk Bannister and Martin walk
back to their office. Stone now connects Oswald with Bannister, who exclaims
”Oswald must’ve flipped.. .Who’d ever thought that goofy Oswald kid would pull off a
stunt like an assassination.” 689 At the office, Bannister becomes suspicious about
whether Martin has been refilling through his files – the implication being there is
something there about the assassination that he does not want anyone to see. Martin says
he has no reason to look in the file because “I saw enough here this summer to write a
book.” 690 Bannister becomes enraged and savagely pistol whips Martin. Stone is turning
the tables on the Warren Commission by recreating scenes based on testimony that was
rejected in the “official” version of Oswald’s life and the assassination.
689 Sklar and Stone, 14-15.
690 Sklar and Stone, 15.
303