Exploiting Again

A brief look at the corpus of Stone’s work would indicate that he has never done anything other than pander to the “politically correct.”

From the prevarications of “Midnight Express” and “Salvador,” to the amoral “Wall Street,” the pontificating “Platoon” and the groovy “The Doors,” Stone has strived for a ‘60s relevance that now seems so incredibly cliched and sophomoric.

In “JFK” he is simply exploiting again, this time the stale cottage industry in assassination-plot paranoia and mythology, which has not produced a single concrete indictment in more than a quarter-century.

“The Most Dangerous Man in America?” Seriously now. Telling liberals what they want to hear is the safest choice any producer can make in Hollywood today, and it is a choice that has well served Stone’s career.

PAT FERRIS

Los Angeles