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Profile: Lionel Chetwynd
Lionel Chetwynd was a participant or observer in the following events:
The video sleeve for ‘DC 9/11.’ [Source: Internet Movie Database (.com)]Showtime broadcasts a “docudrama” about the 9/11 attacks and the White House’s response, entitled DC 9/11: Time of Crisis. According to New York Times author and media critic Frank Rich, the film drastically rewrites history to portray President Bush as “an unironic action-movie superhero.” In the movie, Bush—portrayed by actor Timothy Bottoms, who played Bush in Comedy Central’s satiric That’s My Bush!—is shown overruling his Secret Service detail and ordering Air Force One to return to Washington immediately, an event which never happened (see (10:32 a.m.) September 11, 2001 and (4:00 p.m.) September 11, 2001). “If some tinhorn terrorist wants me, tell him to come and get me!” the movie Bush shouts. “I’ll be at home, waiting for the b_stard!” The movie Bush has other lines that establish his desire to get back to Washington, including, “The American people want to know where their damn president is!” and “People can’t have an AWOL president!” In one scene, a Secret Service agent questions Bush’s demand to return to Washington by saying, “But Mr. President—” only to be cut off by Bush, who snaps, “Try ‘Commander in Chief.’ Whose present command is: Take the president home!” In reality, most of the orders on 9/11 were given by Vice President Dick Cheney and counterterrorism “tsar” Richard Clarke, but in the movie, Bush is the man in charge. “Hike military alert status to Delta,” he orders Defense Secretary Donald Rumsfeld. “That’s the military, the CIA, foreign, domestic, everything,” he explains. “And if you haven’t gone to Defcon 3, you oughtta.” To Cheney, he barks: “Vice? We are at war.” The White House team are, in Rich’s words, “portrayed as the very model of efficiency and derring-do.” [Washington Post, 6/19/2003; New York Times, 9/5/2003; Rich, 2006, pp. 25-26] New York Times reviewer Alessandra Stanley notes that Bush is the unquestioned hero of the film, with British Prime Minister Tony Blair portrayed as “not very eloquent” and Cheney depicted as “a kowtowing yes-man.” [New York Times, 9/5/2003]
Conservative Pundits Influenced Script - The movie is produced by Lionel Chetwynd, whom Rich calls “the go-to conservative in B-list Hollywood.” For the movie script, Chetwynd was given unprecedently broad access to top White House officials, including Bush. He also received the assistance of conservative Washington pundits Charles Krauthammer, Morton Kondracke, and Fred Barnes, who cover the Bush White House for such media outlets as Fox News, the Weekly Standard, and the Washington Post. Rich later writes that much of the film seems based on Bob Woodward’s “hagiographic [book] Bush at War (see November 25, 2002).” [Washington Post, 6/19/2003; Rich, 2006, pp. 25-26]
Propaganda Effort? - Before the movie airs, Toronto Sun columnist Linda McQuaig called the film an attempt to mythologize Bush in a fashion similar to Hollywood’s re-creation of the Wild West’s Wyatt Earp, and wrote that the film “is sure to help the White House further its two-pronged reelection strategy: Keep Americans terrified of terrorism and make Bush look like the guy best able to defend them.” Texas radio commentator Jim Hightower added that the movie would present Bush as “a combination of Harrison Ford and Arnold Schwarzenegger.… Instead of the doe-eyed, uncertain, worried figure that he was that day, Bush-on-film is transformed into an infallible, John Wayne-ish, Patton-type leader, barking orders to the Secret Service and demanding that the pilots return him immediately to the White House.” Chetwynd himself has acknowledged that he is a “great admirer” of Bush, and has close ties to the White House. In late 2001, Bush appointed him to the President’s Committee on the Arts and the Humanities. “This isn’t propaganda,” Chetwynd insisted during the shooting of the movie, adding: “Everything in the movie is [based on] two or three sources. I’m not reinventing the wheel here.… I don’t think it’s possible to do a revision of this particular bit of history. Every scholar who has looked at this has come to the same place that this film does. There’s nothing here that Bob Woodward would disagree with.… It’s a straightforward docudrama. I would hope what’s presented is a fully colored and nuanced picture of a human being in a difficult situation.” [Washington Post, 6/19/2003] Rich will later write that the film is “unmistakably a propaganda effort on behalf of a sitting administration.” [Rich, 2006, pp. 25-26]
Blaming the Clinton Administration - Perhaps most questionably, Stanley writes, the film “rarely misses a chance to suggest that the Clinton administration’s weakness was to blame for the disaster.” Bush, she notes, is portrayed as a more decisive leader than his predecessor: in the film, he tells Blair over the telephone: “I want to inflict pain [on the attackers]. Bring enough damage so they understand there is a new team here, a fundamental change in our policy.” [New York Times, 9/5/2003]
9/11 Widow Unhappy with Film - Kristen Breitweiser, who lost her husband in the attack on the World Trade Center, calls the film “a mind-numbingly boring, revisionist, two-hour-long wish list of how 9/11 might have gone if we had real leaders in the current administration.” She adds: “It is understandable that so little time is actually devoted to the president’s true actions on the morning of 9/11. Because to show the entire 23 minutes from 9:03 to 9:25 a.m., when President Bush, in reality, remained seated and listening to ‘second grade story-hour’ while people like my husband were burning alive inside the World Trade Center towers, would run counter to Karl Rove’s art direction and grand vision.” Breitweiser questions numerous aspects of the film: “Miscellaneous things that surprised me included the fact that the film perpetuates the big fat lie that Air Force One was a target. Forgive me, but I thought the White House admitted at the end of September 2001 that Air Force One was never a target, that no code words were spoken and that it was all a lie (see (10:32 a.m.) September 11, 2001 and September 12, 2001-March 2004). So what gives?… Not surprisingly, there is no mention of accountability. Not once does anyone say, ‘How the hell did this happen? Heads will roll!’ I was hoping that, at least behind closed doors, there were words like, ‘Look, we really screwed up! Let’s make sure we find out what went wrong and that it never happens again!’ Nope, no such luck.” [Salon, 9/8/2003]
Entity Tags: Charles Krauthammer, Richard (“Dick”) Cheney, Richard A. Clarke, Showtime, Alessandra Stanley, Tony Blair, Bob Woodward, Morton Kondracke, Lionel Chetwynd, Timothy Bottoms, Kristen Breitweiser, Donald Rumsfeld, Clinton administration, Fred Barnes, Frank Rich, Karl C. Rove, George W. Bush, Linda McQuaig, Jim Hightower
Timeline Tags: Complete 911 Timeline, Domestic Propaganda, 2004 Elections
The conservative lobbying and advocacy group Citizens United (CU) releases a documentary intended as a refutation of the popular documentary, Fahrenheit 9/11 (see June 25, 2004), a film by liberal documentarian Michael Moore that savaged the Bush administration’s handling of the 9/11 attacks. The CU film is entitled Celsius 41.11—The Temperature at Which the Brain Begins to Die. CU spent six weeks making the film, and is releasing it in small venues around the nation after the Federal Election Commission (FEC) denied the organization permission to broadcast it on television (see September 8, 2004). (In August, the FEC dismissed a complaint against Moore over Fahrenheit 9/11 filed by CU—see August 6, 2004.) The slogan for the movie is “The Truth Behind the Lies of Fahrenheit 9/11!” The movie was written and produced by Lionel Chetwynd, who has written and produced a number of Hollywood feature films and documentaries. Chetwynd, a vocal conservative, produced the September 2003 “docudrama” 9/11: Time of Crisis, which portrayed President Bush as a near-action hero during and after the 9/11 attacks, and took significant liberties with the actual events (see September 7, 2003). Of this film, Chetwynd says: “We could have gone wall to wall with red meat on this, but we purposely didn’t. The cheap shots may be entertaining in Moore’s film, but we wanted to make the intellectual case and go beyond lecturing to the converted.” New York Times reporter John Tierney describes the movie as overtly intellectual, sometimes appearing more as a PowerPoint presentation than a film made to appeal to a wider audience. It features a point-by-point defense of Bush’s actions during the 9/11 attacks, and features “politicians, journalists, and scholars discoursing on the legality of the Florida recount in 2000, the Clinton administration’s record on fighting terrorism, and the theory of American exceptionalism.” There are a few “red meat” moments, Tierney notes, including the juxtaposition of the Twin Towers burning as Moore says in a voiceover, “There is no terrorist threat.” It also includes a few slaps against Democratic presidential candidate John Kerry (D-MA), mostly in the form of a country song where the singer Larry Gatlin sings, “John boy, please tell us which way the wind’s blowing,” a reference to the Bush campaign’s attempt to portray Kerry as a “flip-flopper” who goes back and forth in his views on various issues. The Georgetown premiere of the movie attracts some 300 viewers, almost all Republicans, according to Tierney. The audience, according to Tierney, views the film as more “thoughtful and accurate” than Moore’s film, and unlikely to make anywhere near the profits the earlier film garnered. Chetwynd says he resisted the temptation to launch an all-out assault on Kerry “the way that Moore did with Bush.” Filmgoer Jerome Corsi, who has written a bestselling book attacking Kerry’s Vietnam record, praises the film, as does Debra Burlingame, whose brother was the pilot of the airplane that was flown into the Pentagon on the morning of September 11, 2001 (see 8:51 a.m.-8:54 a.m. September 11, 2001). Burlingame, a founder of a group of 9/11 victim relatives that supports Bush, says: “Michael Moore actually used footage of the Pentagon in flames as a sight gag. It was really hard to sit there in the theater listening to people laugh at that scene knowing my brother was on that plane. I wish more people would see this film instead.” [New York Times, 9/30/2004] In October, the Washington Post’s Philip Kennicott will dismiss the film as “generat[ing] heat but no new light,” calling it “sad in a sad sort of way… dull, lazy, and inconsistent,” and suffused with an “unabashed idolatry of the Great Leader (in this case, George W. Bush)” in the same way that Nazi propagandist Leni Riefenstahl made her documentaries (he wonders, “Has the conservative worldview really been reduced to a slavish worship of authority?”). Kennicott will ask if the film is an attempt to refute Moore’s documentary or an “overlong attack ad on John Kerry,” and concludes that the film is little more than a combination of “dreadful political advertisements and dreadful political talk shows.” [Washington Post, 10/22/2004] TV Guide’s Maitland McDonagh will call the film a “shrill, repetitive screed” obviously released just in time to influence the 2004 presidential election, and bearing “all the hallmarks of having been thrown together in a heated rush.” [TV Guide, 10/2004]
Entity Tags: Jerome Corsi, Debra Burlingame, Clinton administration, Citizens United, Bush administration (43), George W. Bush, Philip Kennicott, Lionel Chetwynd, Federal Election Commission, Larry Gatlin, Leni Riefenstahl, John Tierney (New York Times), Maitland McDonagh, John Kerry, Michael Moore
Timeline Tags: Civil Liberties, Domestic Propaganda, 2004 Elections
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