TIFF Review: Oliver Stone’s ‘Snowden’ Has Little New Or Interesting To Say About Its Subject

Senior Editor
09.12.16 20 Comments
snowdenfeature

Open Road Films

Writing about the Edward Snowden case, Glenn Greenwald has made some compelling arguments about the nature of mass surveillance programs. His main one is that just the existence of such programs gives people a low-level anxiety, causes us to self-censor, and in essence, makes us all demonstrably less “free,” even without being specifically targeted or having done anything wrong. That the mere idea that you could have your dirty laundry aired in public by someone who doesn’t like you makes you more compliant in general, and in all sorts of situations, less willing to stand out or speak up, even if you don’t think you have any enemies, let alone oppose the government.

I realize that Oliver Stone is, shall we say, less than nuanced, but I was still expecting some form of that argument when, during Snowden, Edward Snowden’s girlfriend, Lindsay Mills, played by Shailene Woodley, delivers the oft-repeated chestnut of an apathetic public in the PRISM age: “Let them spy, I don’t have anything to hide.”

“You don’t have anything to hide?” Snowden (Joseph Gordon Levitt) demands, incredulously, like a seasoned prosecutor who has run through this line of question many times in his mind.

There it was. Right there on a tee, a perfect set up for movie-Snowden to tell us Why This Matters. To give us one compelling answer to the blazing question of this whole story: Why is this mass surveillance thing so bad? Surely, for all his faults, not even Oliver Stone, who must’ve put this scene together this way for a reason, could whiff on this one, right?

And that’s when, rather than offer any insightful counter argument about surveillance, movie-Snowden accuses his girlfriend of cheating. Then they have a big fight over how he hasn’t been around, she’s bored, he’s mad because he pays for everything, and blah blah blah. I can’t tell if Stone is missing the point himself or if he simply has no other speed than reality show relationship fight. Why is this scene even here other than to provide generic “drama”?

The final straw for Edward Snowden, the thing that caused him to knowingly turn himself into an indefinite dissident persona non-grata, according to the Oliver Stone version of the story, comes when his boss (Rhys Ifans) starts spying on his girlfriend. Snowden’s boss does the creepy old “you wouldn’t want to quit and then not be able to afford the nice RED DRESS your girlfriend was wearing YESTERDAY AT THE PARK with her BEST FRIEND SHEILA, would you?” This while talking to him from a giant Big Brother screen that curiously hadn’t appeared until that moment (I’m guessing it was SYMBOLISM). This is a film that asks, How could the American people ever hope to understand the perniciousness of mass surveillance except through hokey movie tropes?

I didn’t expect a documentary (if you care about this issue, please, see Citizen Four or Zero Days instead of this) or a dearth of creative license, but is it too much to ask for the storyteller to at least understand the big picture issues of the story he’s telling? The only thing Oliver Stone seems capable of communicating about Edward Snowden is that “questioning authority is the greatest form of patriotism.” And he hammers it, over and over again. Mainly by depicting Edward Snowden as a nerdy, conservative, genuinely patriotic guy who’s horrified by what he finds when he starts working for the U.S. security apparatus. As Woodley’s character says (on their first date, no less) “You don’t have to agree with your politicians to be patriotic.”

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