Adam McKay’s movie may be flawed, but it’s still must-see for his depiction of how Cheney amassed power by exploiting Watergate, an inexperienced president and 9/11, writes James DiEugenio.

By James DiEugenio

Special to Consortium News



In 2015, director Adam McKay did something unusual in Hollywood. He made a good film out of a good book. In fact, one could argue that McKay’s movie “The Big Short” is even better than Michael Lewis’ book. It is funnier, has a faster pace and is much more innovative stylistically.

McKay has now done something even more unusual for Hollywood. He has made a good film about an unattractive and unlikeable character, former Vice-President Dick Cheney. Appropriately, the film is called “Vice.” I am going to say some critical things about “Vice.” But let me start by recommending that everyone who reads this website see this film. It’s not often that Hollywood produces a film this honest, ambitious and intelligent about the contemporary American political scene.

Early in his life, Cheney flunked out of Yale and was tagged with two DUI’s. His wife Lynne—who later became a prolific author—helped straighten him out and put him on a path toward a political career. From that point on, McKay, who also wrote the script, frames Cheney with the following epigraph, which is written across the screen at one point:

“Beware the quiet man. For while others speak, he watched. And while others act, he plans. And when they finally rest, he strikes.”

The warning applies to three key sections covered by the film.

Watergate Power Vacuum

During the Watergate scandal, Cheney believed that any Republican not touched by the scandal should be valued like gold. So he and Donald Rumsfeld schemed to fill a power vacuum in the Gerald Ford White House. In order to compensate for the laws sapping executive power after Watergate, he met with a young up-and-coming lawyer named Antonin Scalia. The future U.S. Supreme Court justice supplied Cheney with the unified executive theory, a doctrine Scalia drew from article two of the U.S. Constitution that vests “executive power” in the president. Cheney tried to utilize this doctrine as chief of staff under Ford.

George W’s Search for VP

The dangerous quiet man reappears during the presidential campaign of George W. Bush. As the film depicts, due to an agreement he’d made with his wife, Cheney was only supposed to lead Bush’s search for a vice president. But sensing that W was tentative and unsure of himself on the national stage of foreign policy, Cheney made an agreement with George W. that would make him the most powerful vice-president in history. Through this pact, Cheney achieved something that Lyndon Johnson had tried for but failed to attain with John Kennedy: a co-presidency. He set up offices for himself at both the House of Representatives and the Senate. He also had virtual offices at the CIA and the State Department.

Post 9/11

These arrangements put him in a propitious position during the 9/11 attacks. Cheney advised President Bush to stay in the air for safety purposes while he–without clearance from Bush–issued a shoot-down order to Secretary of Defense Rumsfeld. And that was just the beginning of the Cheney domination of the War on Terror.

As McKay shows in the film, it was Cheney who almost unilaterally chose the suspects that he wanted the CIA to pick up and deport for rendition purposes to foreign black sites, or secret prisons. It was Cheney, aided by neoconservative lawyer David Addington and State Department analyst Doug Feith, who constructed the “stove piping” of intelligence in order to avoid any rigorous review of sources and methods for intelligence reports.

Like the Plan B neocons of the 1970s, who overrode the CIA’s estimates of the Soviet military threat, Cheney descended into the spy agency’s headquarters in Langley, Virginia, and rode herd on its officers and analysts. The vice-president demanded access to all the information, no matter how dubious the source or how much duress had been applied in attaining it. It was this imperiousness that allowed disinformation by the likes of German-born informer Rafid Ahmed Alwan al-Janabi, also known by his CIA moniker of Curveball, to lay the false foundations for the invasion of Iraq.

And Cheney made sure that as much duress as possible was applied to the suspects he had chosen. Through Addington, Cheney recruited John Yoo, a Yale-educated lawyer at work in the Justice Department’s Office of Legal Counsel. Yoo agreed with Scalia’s unitary executive theory. He wrote legal memoranda that stated that, in the War on Terror, America could discard the Geneva Convention’s guidelines on the treatment of prisoners. Yoo’s memos infamously stated that the CIA should only ban physical pain equivalent to organ failure or death. It was Yoo’s almost complete denial of international law that set America on the path to Abu Ghraib, the Iraq prison where the CIA and U.S. Army infamously oversaw the extreme abuse and torture of prisoners.

Still Incomplete

It is remarkable that McKay managed to get all this information about Cheney into a film that runs only slightly over two hours.

But the trail of perfidy is incomplete. For example, as chronicled by the late Bob Parry, it was Cheney who led the counter attack to the Iran/Contra affair from Congress. Cheney was at a meeting at the home of Evan Thomas where it was suggested that National Security Advisor John Poindexter commit perjury to protect President Reagan.

But all of the above tells you little about the experience of watching the film. As with “The Big Short,” the exceptional thing about “Vice” is McKay’s cinematic approach. Once again, he uses a battery of visual devices that are unprecedented in contemporary film. About halfway through the film, for instance, before Cheney becomes vice president, the film appears to reach an abrupt ending. The credits roll, with cornily cheerful music on the soundtrack. Meaning we all would have been better off if Cheney had not become co-president.

In “Vice,” however, such clever innovations don’t necessarily help the overall storyline. “The Big Short” was about an event, namely the economic meltdown of 2007-08. “Vice” is about a man’s life and career.

Had McKay lessened, rather than increased, his visual inventiveness he might have done a better job explaining how Cheney ended up as a character worthy of Shakespeare’s treacherous Iago. (A spoofy bedroom scene written and performed in Shakespeare’s iambic pentameter—which happens—does not solve the riddle of character explication.) A bit more straightforward story telling would have also given the actors—Christian Bale as Cheney and Amy Adams as his wife– more to work with. They are quite adequate here, but because of McKay’s attention to other matters, neither can be really good.

None of this makes me any less enthusiastic about the film or about McKay. How can someone not admire a millionaire film director who identifies himself as a social democrat? And makes films like this? More power to him.

James DiEugenio is a researcher and writer on the assassination of President John F. Kennedy and other mysteries of that era. His most recent book is “The JFK Assassination : The Evidence Today.”

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