From the Archives: 'Our Nixon' producer Brian Frye recalls discovery of White House 'home movies'

'Our Nixon' producer Brian Frye recalls discovery of White House 'home movies'
November 17, 2013 7:16 PM MST

Forty years ago today, on November 17, 1973, President Richard Nixon declared “I am not a crook” before a nationwide television audience. Less than a year later, he had resigned in disgrace rather than face impeachment as a result of a cluster of scandals remembered as “the Watergate affair.”

Earlier this month at the Virginia Film Festival in Charlottesville, film maker Brian L. Frye spoke about his new documentary, Our Nixon (co-produced by Penny Lane, who also directed). Frye participated in a panel discussion after a screening of the film with former Virginia Governor Gerald Baliles and Miller Center scholar Ken Hughes.

Our Nixon, which has been aired by CNN in addition to having a limited theatrical and film-festival release, is built upon a treasure-trove of Super-8mm “home movies” shot by top Nixon aides H.R. “Bob” Haldeman, John Ehrlichman, and Dwight Chapin.

The films – which include footage of Nixon's historic trip to China and visits to the White House by foreign dignitaries, as well as more quotidian events – were preserved by the National Archives as part of a cache of potential evidence in the Watergate investigation but did not come to light until about ten years ago, when Frye learned of their existence.

After the screening, Frye – who teaches law at the University of Kentucky in addition to writing film criticism and producing movies – spoke with the Charlottesville Libertarian Examiner about how he came into possession of home movies from the Nixon White House and the process of turning that material into a cohesive documentary film.

In the public domain
“Haldeman, Ehrlichman, and Chapin,” he explained, “were receiving free Super-8 film from the Naval Photographic Center and also free processing and printing. I'm pretty sure that what was happening was Haldeman was distributing the films and after they were shot, he was collecting them, dropping them off at the Naval Photographic Center and then providing prints to all of his friends, so he probably got three prints of everything, more or less.”

When Ehrlichman, the president's domestic policy advisor, resigned as a result of the Watergate investigation, “he left in his office prints of the Super-8 films -- second- and third-generation prints,” said Frye. “Those were confiscated and ultimately became part of the Watergate investigation collection that went to the National Archives, so they were placed into the public domain in that way.”

The movies remained far from public view, however, because “they don't really relate to the abuse of power issues that people are most interested in. They were relatively low priority on the preservation ladder” for archivists.

Frye learned of the films' existence shortly from the film preservationist who “told me about his preservation work and showed me one of the reels, which I thought was fascinating but I didn't have the resources to make a transfer at the time. These were preserved but there weren't access copies available.”

After writing an article about the newly discovered movie reels for the film journal, Cineaste, Frye met his eventual producing partner, Penny Lane, in 2008.

They decided to collaborate on a documentary based on the movies but they did not know what the entire content was. Taking a risk, they invested $20,000 to have the films transferred to video so they could examine them in detail.

Novel and compelling
Once they had a chance to look at all 25 hours of film, “we realized right away that the movie that we saw in those home movies was the story of the Nixon presidency as experienced by Haldeman, Ehrlichman, and Chapin,” Frye said. “That just struck us as a kind of an interesting, novel, potentially compelling way to look at the nature of a president.”

He analogized his film to how “people say you can learn a lot about a person by the way they talk to the waiter. Maybe you can learn something about the president from the way that he talks to his staff members.”

Of the three principal characters in the film, only Dwight Chapin is still alive. He has seen Our Nixon and appeared on a panel with Penny Lane after a screening at the AFI Docs festival in Washington earlier this year.

“As you might expect,” Frye recalled, Chapin is “critical of some aspects of the film. He feels like it focuses too much on Watergate and negative things about the president” and that it “doesn't reflect enough of Nixon's good qualities.”

At the same time, he added, “I hope he recognizes that we intended this to be a human, empathetic portrait of him and his friends, the people he worked for and with in the White House, and so, hopefully he can see that the film is a balanced and considered portrait of the administration.”

Goat testicles
Frye and Lane have intriguing projects that they are working on to follow up Our Nixon.

Lane, he said, “is working on a new film called Nuts, which is the story of [John R. Brinkley,] a quack doctor from the 1920s who claimed to cure impotence by transplanting goat testicles into men's scrotums” who also “went on to invent border radio [and] win the governorship of Kansas only to have it stolen away from him by the Kansas attorney general.” Brinkley “ultimately died penniless after being crushed by the predecessor of the FCC.”

Frye is working on two different projects on his own, a “documentary history of the representation of the gay rights movement” and a narrative film about the relationship of Andy Warhol and his mother.

Our Nixon will soon be available on DVD and is still being screened on the film festival circuit.




Publisher's note: This article was originally published on Examiner.com on November 17, 2013. The Examiner.com publishing platform was discontinued July 1, 2016, and its web site went dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

From the Archives: Woodward and Bernstein agree Ford's Nixon pardon was 'right thing to do'

Woodward and Bernstein agree Ford's Nixon pardon was 'right thing to do'
November 3, 2012 12:20 AM MST

At a Virginia Film Festival screening of Alan J. Pakula's 1976 movie, All the President's Men on Friday, November 2, Bob Woodward and Carl Bernstein, whose investigative journalism formed the basis for that film and wrote the book of the same name, discussed the Watergate scandal and the legacy it left for American politics and culture.

Woodward and Bernstein answered questions posed by former Virginia Governor Gerald Baliles, one of the founders of the Virginia Film Festival and now director and CEO of the Miller Center at the University of Virginia, which describes itself as “a nonpartisan institute that seeks to expand understanding of the presidency, policy and political history.”

'Wrong answers'
Near the end of the wide-ranging discussion, Woodward pointed out that he and other journalists are not always correct in their judgments – “sometimes you get the wrong answers” – and thus need reassessment.

Woodward, who has remained at the Washington Post for more than 40 years as reporter and editor, recalled how he had learned about President Gerald R. Ford's pardon of his predecessor, Richard Nixon, one month after Nixon had resigned in disgrace in August 1974.

Ford, he said, chose to announce the pardon on TV early one Sunday morning. Woodward was awakened by his reporting partner, Bernstein, who asked if he had heard the news.

No, Woodward said, not knowing what the news was.

“The sonofabitch pardoned the sonofabitch!” Bernstein exclaimed, and Woodward needed no further explanation.

'Aroma of a deal'
“For a long time, we thought the pardon was dirty,” Woodward said. “Why does the guy at the top get off? There was an aroma of a deal, an exchange of the presidency for a pardon. There was a question of justice: why one guy gets a pardon, forty people go to jail, and so forth.”

Woodward asserted that Ford lost the election to Jimmy Carter in 1976 “in large part” because of the pardon and suspicions about it among American voters.

About 25 years later, Woodward wrote a book about Watergate and the legacy it had on the presidencies of Ford through Clinton. He had never met Ford previously, but spent several hours with him, as part of his research, with a specific aim to learn about the Nixon pardon.

Ford told Woodward that Nixon chief of staff Alexander Haig had, indeed, offered a deal, but that he had rejected it.

“I pardoned Nixon, not for Nixon, not for myself, not for the political system,” Ford said to Woodward, “I pardoned Nixon for the country,” because the United States had to get beyond Watergate. A criminal trial of Nixon would prolong the scandal by three or more years and would be “unacceptable.”

'Cold shower'
Years later the Kennedy family gave Ford a Profiles in Courage award for his pardoning of Nixon. This event, Woodward said, was “a very important cold shower to get, because we had it absolutely wrong.”

At this point, Bernstein interjected, with Woodward nodding his agreement, that “it was the right thing to do for the country. It cost this man the presidency, because he did the right thing.”

After the discussion, Woodward and Bernstein autographed copies of their various books, including All the President's Men, for festival attendees.


Publisher's note: This article was originally published on Examiner.com on November 3, 2012. The Examiner.com publishing platform was discontinued July 1, 2016, and its web site went dark on or about July 10, 2016.  I am republishing this piece in an effort to preserve it and all my other contributions to Examiner.com since April 6, 2010. It is reposted here without most of the internal links that were in the original.

Shaft: Richard Roundtree at the Virginia Film Festival

Richard Roundtree at UVA

After a screening of the 1971 Gordon Parks film, Shaft, at the 2014 Virginia Film Festival, actor Richard Roundtree (who created the role of detective John Shaft) was interviewed by University of Virginia historian John Mason, who also fielded questions for Roundtree from the audience.

Although Roundtree is rightly associated with Shaft -- he also starred in the sequels Shaft's Big Score and Shaft in Africa, as well as a TV series of the same name -- his TV credits include Roots, A Different World, Fresh Prince of Bel Air, and Desperate Housewives, while his film roles have included turns in Earthquake, Killpoint, Se7en (with Brad Pitt and Morgan Freeman), and Young Warriors, among others.

For those unfamiliar with the film -- which has been unfairly included as part of the 1970s' "Blaxploitation" genre -- one of the synopses on IMDB explains:

Private detective John Shaft is hired by Harlem mobster Bumpy Jonas to find his kidnapped daughter. Bumpy has no idea who might have taken her but isn't as forthcoming as he could be about his situation. When his first lead peters out - he thought it might be Black power advocates who took the girl - he acts on information from NYPD Lt. Vic Androzzi that outside mobsters are in town and might be trying to take over various illegal businesses in Harlem.

This conversation took place in UVA's Culbreth Theater on the opening night of this year's Virginia Film Festival, coincident with the November 6 world premiere of Big Stone Gap at the Paramount Theater downtown. 

The screening and ensuing discussion also coincided with an exhibition of Gordon Parks photographs at the University of Virginia's Fralin Museum of Art, which Mason and Roundtree viewed earlier in the day.

Roundtree talked about making the film in a wintry New York, the value of the film's music score (by Isaac Hayes, who won an Academy Award for the theme song), and advice for young actors getting their start in show business.

Sadly, my camera's battery died about five minutes before the discussion ended, but the bulk of it is preserved in this 35 minute video clip.

Gay Boy Scouts in the 1970s - Video

Last week, for the first time in its century-long history, the Boy Scouts of America officially admitted openly gay boys into its membership rolls.

As of January 1, 2014, gay teenagers can now participate in BSA activities until they are 17 years, 364 days, 23 hours, and 59 minutes old.  One minute later, they become ineligible in a bifurcated policy that permits gay Scouts but not gay Scouters (the term of art the international Scouting movement uses to refer to adult leaders).

When the policy's implementation made headlines on the cusp of the new year, I reached back into my own archives, discovering some home movies from a Boy Scout summer camp in 1971.

I was a member of Troop 72 of the Potawatomi Area Council at the time. Troop 72 was sponsored by St. Agnes Parish in Butler, Wisconsin, where I attended elementary school. I joined the troop in the fall of 1970 and went on probably a dozen camping trips over the following two years, including two week-long sojourns during the summer at Camp Long Lake in the Kettle Moraine State Forest in Sheboygan County.

That first summer, my father brought along a Super-8mm movie camera to record some of the frolicking Scouts as they assembled for a flag-raising, took their swimming tests, participated in fire-building, gathered at the mess hall for dinner, and worked toward getting merit badges in archery, canoeing, and other activities.

This silent film -- characterized by overcast skies in what was apparently a chilly summer of 1971 -- lasts for just over seven and a half minutes.

(Before clicking on this video, let this be fair warning to anyone offended by images of shirtless teenage boys romping around in skimpy swimwear, or by classic gas-guzzling American automobiles of late 1960s and early 1970s vintage. You'll see all those things and more. By the way, if you recognize yourself in this home movie from 1971, or if you have ever been a member of Troop 72 at St. Agnes School, please note it in the comments section, below. It will be fun to reconnect with old friends.)

It's possible, but not likely, that I was the only gay Scout featured in this video. Of course, at 12 years of age, I wasn't openly gay like Maryland's Pascal Tessier, who hopes to become the first Scout to earn his Eagle rank while being openly gay. (There are many other gay Eagle Scouts who came out subsequent to their achievement.)

The Boy Scouts' new policy was approved last year and there was some trepidation that the transition might be bumpy.

According to news reports, however, whatever fears there might have been dissipated quickly once the policy was implemented.

For instance, according to a story in the Columbia (Missouri) Daily Tribune, local Scout council leader Doug Callahan said he had not observed much of an effect since the policy change.

Overall, he said, the feedback he has received about the change has been "mostly positive."

"Some folks didn't think it went far enough, and some folks didn't like any change, but the vast majority of our supporters and members are OK with the change because they realize our focus is on serving youth and delivering a quality scouting program," he said. "This issue isn't really an important part of our core mission."

Callahan said the Great Rivers Council, which oversees about 8,000 Scouts in northern and Central Missouri, has gotten a few letters from parents that said they will pull their sons out of the Scouts and some letters from people ending financial support. But others have increased their donations because of the change, Callahan said.

"Financially, it's pretty much a break even," he said.

Elsewhere, Alex J. Davidson and Trudy Ring reported in The Advocate,

... so far there has been little blowback as a result of the new policy.

Although about 70 percent of scout troops are affiliated with churches, not all of them LGBT-friendly, very few churches have ended their sponsorship over the gay-inclusive stance, NBC News reports. BSA spokesman Deron Smith told NBC that fewer than 2 percent of the nation’s 116,000 scouting units were dropped by their sponsors between May 23, when the new policy was approved, and Wednesday, when it went into effect.

In an additional statement to The Advocate, he said BSA volunteers and staff were "prepared to implement the new policy with no major changes to the delivery of the scouting program."

The Advocate further reported that BSA spokesman Deron Smith had said in a written statement:

"While people have different opinions about this policy, we can all agree that kids are better off when they are in scouting. We're pleased that the overwhelming majority of our members, families, and chartered organizations remain committed to the Boy Scouts of America. America's youth need scouting, and by focusing on the goals that unite us, we can continue to accomplish incredible things for young people and the communities we serve."

Years after my own, brief Scouting experience, I mentioned my participation in Troop 72 in the first commentary piece I wrote for The Wall Street Journal, in which I argued that, although the Boy Scouts' policy at the time -- to exclude completely any openly-gay boys or leaders -- was wrongheaded and cruel, it was the BSA's right as an organization to maintain that policy.

Later, Gays and Lesbians for Individual Liberty (GLIL) made a similar but expanded argument in an amicus curiae brief presented to the U.S. Supreme Court in the case of BSA v. Dale. The court alluded to our brief in its decision favoring the Scouts' right to freedom of association.

GLIL had argued that public pressure, rather than government coercion, was a better way to get the Boy Scouts to change theiranti-gay policies.  As I noted in my WSJ article in August 1999:

a self-contradictory and wrong-headed policy does not require (nor deserve) the action of the state to correct it. Many commentators have noted that the Girl Scouts have chosen to practice non-discrimination in regard to sexual orientation. Lesbians are free to participate in Girl Scout programs. Yet no government action compelled this change in policy. The Girl Scouts' leadership acted on its own.

That is why we should encourage the efforts of those individuals and groups, such as gay former Scouts, who are trying to persuade the BSA to change its membership requirements voluntarily. Their attempts at moral suasion deserve commendation and support.

Moral suasion is indeed what turned out to be successful. Eagle Scout Zach Wahls, a co-founder of Scouts for Equality described that process in an article in The Miami Herald on January 3:

“We began an 18-month campaign that less than a year later culminated in the Boy Scouts voting this past May to end their ban on gay youth,” said Wahls, 22, who is spending his New Year’s holiday in Miami Beach. “While in some sense this is a big step forward and we need to recognize that, on the other hand you’re still going to be kicked out of the program the day you turn 18.”

The transition is not complete, as noted by Eagle Scout Eston "Dusty" Melton (also the father and son of Eagle Scouts) in the same article, written by Steve Rothaus. Changing the policy on gay youth members, Melton said, "was the correct first step for the Boy Scouts as an organization, but the effort will not be completed successfully until every aspect of discrimination is eliminated from the BSA’s official policies.”

More public pressure is undoubtedly needed to prod the BSA toward more thorough reforms of its policies.  As we have seen from what has happened so far, however, patience pays off and persuasion is better than coercion.

Kennedy and Nixon at the 2013 Virginia Film Festival

Wesley Buell Frazier (left) and Larry Sabato

Tomorrow is the 50th anniversary of John F. Kennedy's assassination in Dallas, Texas, on November 22, 1963. Television, radio, and newspapers are full of remembrances, with witnesses, historians, conspiracy theorists, and political commentators weighing in on that momentous event.

Earlier this month at the Virginia Film Festival, there was a screening of a new documentary film about JFK's legacy from the Center for Politics at the University of Virginia, called The Kennedy Half-Century, which is tied to a book by the same name by UVA political scientist Larry Sabato (The Kennedy Half-Century: The Presidency, Assassination, and Lasting Legacy of John F. Kennedy).

There was also a screening of a new documentary film about Kennedy's 1960 presidential election campaign rival, Richard M. Nixon.

That film, called Our Nixon, features never-before-seen behind-the-scenes "home movies" from the first four years of the Nixon administration.

Gerald Baliles (left) and Brian L. Frye

The amateur movies were made with Super-8mm cameras by White House aides H.R. "Bob" Haldeman, John Ehrlichman, and Dwight Chapin.

 All three men were later convicted of crimes connected to the Watergate Affair, which also brought down Nixon himself, when he became the first (and, so far, only) U.S. President to resign his office.

Each screening featured a three-person panel discussion.

The panel discussion that followed The Kennedy Half-Century focused on the Kennedy assassination itself, which is only briefly covered in the movie, because the film's focus is largely on how Kennedy's legacy has been treated by the presidents who followed him into the White House, from Lyndon Johnson to Barack Obama.

Larry Sabato moderated a discussion with two witnesses to the JFK assassination: Tina Towner Pender, who at the time of the murder was the youngest person who photographed the event; and Wesley Buell Frazier, a co-worker of Lee Harvey Oswald at the Texas School Book Depository, who drove the assassin to work the morning of November 22.

After the panel discussion, I interviewed both Pender -- who has written a memoir called Tina Towner: My Story as the Youngest Photographer at the Kennedy Assassination -- and Frazier, who was manhandled by the Dallas Police and accused of being an accomplice of Lee Harvey Oswald or co-conspirator in the assassination.

Here is video of that panel discussion, which took place in the Culbreth Theater on Saturday, November 9:

The next day, November 10, Our Nixon was shown at the Newcomb Hall Theater. The screening was followed by a panel discussion moderated by former Virginia Governor Gerald Baliles, now director and CEO of the Miller Center at the University of Virginia, and featuring Brian L. Frye, co-producer of Our Nixon and a law professor at the University of Kentucky, and Miller Center scholar Ken Hughes.

After the panel, I spoke to Frye and asked him about how he found the long-lost Super-8mm footage that makes up the bulk of his film, how it was preserved, and what his next film projects are.

Here is the video of the Our Nixon panel with Baliles, Frye, and Hughes:

Our Nixon has been aired by CNN and shown at several film festivals (in addition to the Virginia Film Festival in Charlottesville) and it will also be available on DVD in January 2014.

Spiro Agnew Resigned as Vice President 40 Years Ago Today

Another piece from the archives, marking the 40th anniversary of Spiro T. Agnew's resignation as vice president on October 10, 1973. Agnew left office under a cloud in the midst of the unfolding Watergate scandal, leading to the first use of the 26th Amendment procedures for selection of a vice president by Congress to fill a vacancy in that office. (Previous vacancies had gone unfilled throughout the rest of the presidential term.)

This article appeared in The Metro Herald in September 1996 as "Spiro Agnew: Up from the Memory Hole?" It was written on the occasion of Agnew's death on September 17, 1996.

- - -

Early in 1973, a Sunday "Doonesbury" comic strip by Garry Trudeau showed eight panels of the south portico of the White House. Phones are ringing; suddenly a recording answers: "Good morning! This is the White House. We are sorry but all our lines are busy right now. Please hold on. A service representative will be with you in a moment." There is a beep and a pause, followed by: "Good morning. Thank you for calling the White House. May I help you?" "... Ah ... yes," says the caller. "I'm trying to reach Mr. Agnew." Comes the reply: "Speaking."

To many people, this is the predominant image of former Vice President Spiro T. Agnew, who died late Tuesday evening [September 17, 1996] at the age of 77. In the swirl of controversy that defined the Nixon White House -- Vietnam, Watergate, the Energy Crisis -- Agnew was a but a blur, a minor player relegated to the lower levels of the administration; indeed, he was little more than a messenger or telephone operator.

Plucked from obscurity on [August] 8, 1968, by Republican presidential nominee Richard M. Nixon to be his running mate, Spiro Agnew had served as Baltimore County Executive and Maryland's Governor. Though some may claim he remained obscure throughout his truncated tenure as Vice President, the fact is that President Nixon assigned him major duties in both the domestic and foreign policy realms. Those who do remember him recall his lurid turns-of-phrase in his role as the administration's political attack dog.

"Nattering nabobs of negativism" was how Agnew characterized the press in one memorable speech in 1969. Spoken by Agnew, that phrase is ascribed to speechwriter Patrick Buchanan. (Is it necessary to ask, "Whatever happened to him?")

Spiro T. Agnew as Maryland governor

A year later, during the midterm election campaign, Agnew spewed forth against the administration's liberal opponents, saying that "ultraliberalism today translates into a whimpering isolationism in foreign policy, a mulish obstructionism in domestic policy, and a pusillanimous pussyfooting on the critical issue of law and order."

Agnew did not limit his criticism to Democrats, either. During that year's campaign season, he turned his sights on New York Senator Charles Goodell, who as a "Rockefeller Republican" was fairly liberal in his voting record. Goodell was in a tight three-way race that included Conservative candidate James Buckley. Nixon was upset by Goodell's attitude toward the administration's Vietnam policy, and wanted to undercut his re-election efforts in an attempt to favor Buckley.

So Agnew was sent out on the attack. At a meeting of newspaper editors in New Orleans, Agnew suggested that Goodell's most recent statements about Vietnam were wildly inconsistent with the statements and votes he had made as a member of the U.S. House of Representatives. By comparing his earlier and later statements, Agnew said, "you will find Goodell is truly the Christine Jorgensen of the Republican Party." (Jorgensen, in the 1950s, became the first person to have a successful sex-change operation.) Ms. Jorgensen, by the way, was not pleased at the comparison and objected to being used by Agnew as a "political pawn." (Goodell, by the way, lost his race to Buckley, who lost in turn to Daniel Patrick Moynihan six years later.)

Nonetheless, Agnew's role in the Nixon administration was more than just fodder for the media. Behind the scenes he performed important tasks. Henry Kissinger notes in his memoirs, for instance, that Agnew was one of the administration's point-men in the negotiations to end the Vietnam War, and during the drawn-out bargaining of late 1972 was always on stand-by, ready to fly to Paris to sign a peace treaty on the President's behalf.

Agnew's downfall, of course, was petty political corruption. I remember clearly the night of October 10, 1973, when Agnew resigned the vice presidency. My high school classmates and I learned a new Latin phrase: "nolo contendere" (no contest), the plea entered by Agnew that was short of an admission of guilt but still earned him punishment for accepting bribes (and failing to pay taxes on his bribery income) while he served, not only as Governor of Maryland, but as Vice President.

Strangely enough, Agnew treated his graft practices with an eerie sort of lightheartedness. One of the contractors who had delivered thousands of dollars in bribes to Agnew was being pressured to give money to the Nixon re-election campaign in 1972. After hearing his complaint, Agnew said to the man: "Tell them you gave at the office."

Agnew resigned; Nixon appointed Gerald R. Ford to succeed him. When Nixon himself resigned just 10 months later, Ford became "the accidental president." Had Agnew forestalled his own troubles for less than a year, he too could have been president -- and perhaps the second U.S. chief executive to resign in disgrace. What an ironic twist to history that would have been.

Panel Discussions at the 2012 Virginia Film Festival

Carl Bernstein

Although a presidential election has intervened, absorbing much of our attention, since the last popcorn was popped and the last screening went dark, I think it's worthwhile to visit the 2012 Virginia Film Festival and look at a few of the stimulating panel discussions that followed some of the features.

The headliners on Friday night were former Virginia Governor Gerald Baliles, who was one of the founders of the Virginia Film Festival, along with authors Carl Bernstein and Bob Woodward. Baliles led a conversation with Woodward and Bernstein about the 1976 movie based on their book, All the President's Men, which chronicled their investigation of the Watergate break-in and cover-up as young reporters with the Washington Post.

Bob Woodward

All the President's Men won four Academy Awards (supporting actor, sound, art direction-set decoration, and adapted screenplay) and was nominated for four others, including Best Picture. (By odd coincidence for me, the screenplay was by William Goldman, who also wrote The Lion in Winter, a play I saw last night at the American Shakespeare Center's Blackfriars Playhouse in Staunton last night.)

Woodward and Bernstein discussed many aspects of their investigative work, the making of the movie, and the legacy of the Watergate scandal. One nugget that I excerpted from the longer discussion focused on President Gerald Ford's pardon of Richard Nixon just one month after Nixon resigned the presidency.

Woodward explained that he interviewed Ford about the pardon some 25 years after it occurred, and that Ford said he did it to spare the country of further pain over Watergate. Although he and Bernstein had been appalled by the pardon at the time it happened, they now agree that Ford "did the right thing."

Here's the clip:

The longer, more wide-ranging, conversation is also worth a look. Considering that Watergate happened 40 years ago, it is fascinating to hear the stories directly from some of the principal players in the investigation that brought down a president and proved that our Constitution can endure even the worst crisis that threatens its integrity.

Here's the complete panel discussion with Baliles, Bernstein, and Woodward:

For the record, here is Governor Baliles' introduction of the film and the participants:

Another political movie was also featured at this month's film festival. A screening of John Frankenheimer's 1962 psycho-political thriller, The Manchurian Candidate (starring Frank Sinatra, Laurence Harvey, Angela Lansbury, and a cast of distinguished character actors of the 1950s and 1960s), was followed by a discussion among the hosts of the public radio program, BackStory with the American History Guys.

The American History Guys are two University of Virginia historians, Brian Balogh (20th century history) and Peter Onuf (18th century), and the president of the University of Richmond, Ed Ayers (19th century).

The screening and panelists were introduced by Jody Kielbasa, director of the Virginia Film Festival, who notes that The Manchurian Candidate has been added to the Library of Congress's National Film Registry.

Here's the full discussion, including questions and comments from the audience:

In a non-political category, on Saturday afternoon, actor and Oscar-winning songwriter Keith Carradine discussed his role in Ridley Scott's 1978 film, The Duellists (costarring Harvey Keitel). The conversation was moderated by New York University film scholar Harry Chotiner and included questions from the audience about Carradine's career and the art/craft of acting.

Here's the post-screening discussion, which lasts just over one-half hour:

Finally, a new movie, based on a popular young adult (YA) novel, from a first-time director was one of the closing-night screenings in a newly refurbished Newcomb Hall Theatre on the grounds of the University of Virginia.

Director Matthew Lillard (better known as an actor for such films as Scream and Scooby-Doo) discussed his new film, Fat Kid Rules the World, along with actor Billy Campbell, who has a major role in it. The conversation was moderated by Sandy Hausman of WVTF-FM.

Fat Kid Rules the World is based on the novel of the same name by K.L. Going and stars Jacob Wysocki, Matt O'Leary, and Dylan Arnold, as well as Campbell (who attended Western Albemarle High School).

The conversation took some interesting turns. As Lisa Provence reported in The Hook, for instance,

Billy Campbell's shocking confession about what really went on at Fork Union Military Academy: The star of The Killing says his six years at FUMA provided the military experience for playing a former-Marine dad in Fat Kid. "What were you doing there?" asks Hausman. "A lot of masturbating," replies Campbell.

Here's the whole rollicking thing:

For more of my coverage of this year's Virginia Film Festival, see this Examiner.com article about Woodward & Bernstein and this pre-festival interview with Jody Kielbasa.

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Review of Ash Lawn Opera's 'The Music Man'

If you fear that Ash Lawn Opera’s summer production of Meredith Willson’s The Music Man will offer surprises or innovations, be not afraid. This is just about as conventional a version of the classic 1957 musical comedy that you’re likely to see in this or any other season.

Having just reread Willson’s own account of the trials and tribulations that resulted in the original production (‘But He Doesn’t Know the Territory,’ published in 1959), I understand how his book (co-authored with Franklin Lacey) became ironclad. Only complete incompetency could breach that armor. That would explain, in part, why The Music Man is such a favorite of community and high school theatre troupes with limited resources.

Director Cate Caplin’s mounting at the Paramount Theatre in Charlottesville is more than competent despite some static and clunky blocking (due, perhaps, to the Paramount’s shallow stage area crowded with a large cast of 50 players) and a low energy level – neither of which seem to have bothered the near sell-out crowd in the audience, which thoroughly enjoyed the performance from start to finish.

Helping keep the balls in the air was conductor Jon Kalbfleisch, visiting from Signature Theatre in Arlington, who had the pleasure of directing a musical ensemble collected from around the country, including representatives from the Miami Symphony, Orlando Philharmonic, Florida Grand Opera, and Sarasota Orchestra. (Don’t they do music in Florida in the summer?) Sad to say, it was a nearly unique pleasure to hear a pit orchestra that was on pitch from the very first note of the overture to the last note of the bows. “Sad to say” because such discipline is all too rare in productions like this, and a greater pleasure on account of that.

It was a bit jarring, at first, to hear the principals’ operatic voices singing songs intended for musical-comedy actors. One could detect baritone Trevor Scheunemann (as Professor Harold Hill) fighting the urge to put full voice behind the patter songs that Willson so conscientiously wrote for the character (and not, as some might imagine, for the vocally-limited Robert Preston, who first played the role on Broadway).

Emily Albrink’s soprano is heavier than one might imagine Marion Paroo’s voice, suggesting a greater maturity than the 26-year-old character should possess. Still, her renditions of “Good Night, My Someone,” “Till There Was You,” “My White Knight,” and “Will I Ever Tell You” are lovely throughout.

(The maturity question comes into play in a couple of dubious casting choices. Sarah Kraus, who plays Marian’s mother, is about Albrink’s age and is simply unconvincing as an Irish immigrant in her mid- to late 40s. And baritone Christiaan Smith-Kotlarek is way too old to be playing teenager Tommy Djilas. Since that is largely a non-singing role, director Caplin could easily have given it to an additional young local actor, such as an older brother of those who fill out the hefty ensemble.)

Local actor Pat Owen – not an opera singer, but with a number of musical plays under his belt – is a blustery, curmudgeonly, grumpy, spooneristic Mayor Shinn. Paul Ford and David Burns would be proud to have him follow in their footsteps.

If any of the principals stood out, it had to be Meredith Arwady as Eulalie Mackecknie Shinn, the mayor’s wife. Chewing scenery shamelessly, Arwady had the audience eating it up with her and licking their fingers so as not to miss a bit. Every time she walked – or waltzed – on stage, the energy level in the theatre rose by several degrees. Obviously happy to have a role she could have fun with, Arwady played with it to the limit.

Speaking of limits, Ash Lawn Opera has long been known as short on dance and long on music, which makes sense given its mission. Consequently, the choreography in this production was simple – staged movement in most cases, some marching here and there. The dance break in “Marian the Librarian” was cut substantially, and the footbridge ballet was also circumscribed. (Why the soft-shoe encore of “Gary, Indiana,” a guaranteed applause getter, was also cut mystifies me.)

What dance there was, was executed mostly competently and effectively, although a few missteps could be detected -- not, as one might expect, from the youngest and most amateur members of the cast, but rather by the young opera artists, who seemed outside their element.

To be fair, The Music Man has never been a demanding dance show. The original production’s producers were confident enough to entrust the choreography to a first-timer, Onna White, in recognition of this fact. (White was rewarded with a Tony nomination, as it happens.)

The set design by Evan A. Bartoletti and Lisa D. Lechuga (billed together as Lechetti Design) evoked a 1912-ish Fourth of July in small-town Iowa without being too naturalistic. The dark tones might have been more at home on a Ragtime stage, but that did not detract too much from the atmosphere.

For his part, Stevie Agnew’s lighting design made ample use of a favorite technique of Morton Da Costa, the director of the original stage production and 1962 film of The Music Man – a tightly focused iris effect, isolating one or two actors at a critical moment of the play. Da Costa used it in Auntie Mame, as well, but the two plays had different lighting designers (Howard Bay on The Music Man, Peggy Clark on Auntie Mame), so the conceit seems to belong to the director. Bay, as it happens, was the first member of the creative team to sign up for The Music Man once Kermit Bloomgarden agreed to produce it; Da Costa joined up shortly afterward.

Special praise is due to costume designer Shon LeBlanc, if nothing else than for sheer output. There have to be 100 or more costumes in this show, and each one is true to the era and to the character it represents.

People today sometimes react with bewilderment when they learn that The Music Man beat out West Side Story for the best new musical Tony Award in 1958. They think that West Side Story, after all, was the edgier show and the one with a collaborative team of Revered Giants Of The Theatre – Bernstein, Laurents, Robbins, and Sondheim – plus it was “socially relevant.”

Yet even 55 years later, it’s clear that The Music Man is the better musical play: a more solid book, a more innovative score, more colorful characters, better-constructed and -integrated. West Side Story remains flawed at several levels (some flaws tracing back to Shakespeare) while The Music Man is still more fully formed, even in a strictly conventional production like the one Ash Lawn Opera is presenting in Charlottesville.

Note:  The Music Man holds a special place in my heart.  It was the first show I appeared in (post-high school), at St. Bernard's Studio Theatre in Wauwatosa, Wisconsin.  That show was 35 years ago this summer -- a 20th anniversary production of The Music Man that will always be remembered.

Ash Lawn Opera’s The Music Man has three more performances at the Paramount: August 4 at 7:30 p.m.; August 5 at 2:00 p.m.; and August 7 at 7:30 p.m. Each performance is preceded by a lecture that begins 45 minutes before curtain time. For ticket information, consult www.theparamount.net.

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Mini-Review: 'Snoopy!!! The Musical'

Last night I had an opportunity to see the Four County Players' production of Snoopy: The Musical, the follow-up to the much more successful (and familiar) 1967 off-Broadway hit, You're a Good Man, Charlie Brown, which had a short-lived Broadway revival in 1971 and was revived again on Broadway in 1999.

Despite running only 149 performances, that 1999 production was nominated for a best-musical-revival Tony Award, with Kristin Chenoweth as Sally and Roger Bart as Snoopy winning their own Tonys in the "best featured" category. (That cast also included Anthony Rapp as Charlie Brown and B.D. Wong as Linus.)

Snoopy: The Musical lacks such a storied history, although it does have cast recordings from San Francisco (1975) and London (1983), and an animated movie version available on VHS but not DVD or Blu-ray. (Twin trivia: The San Francisco production was Pamela Myers' follow-up to Company. Her career never really recovered. The animated film, meanwhile, includes in its cast Growing Pains' Jeremy Miller as Linus.)

As sequels go, this could be worse -- but not by much. Fortunately the exuberant young actors ignored the show's mediocrity and gave it their all, so the evening was entertaining enough to justify the cost of the tickets and the 30-minute drive to Barboursville from Charlottesville.

None of the cast of seven is past high school age (even if you include one Princeton-bound recent graduate), and a couple have not yet reached junior high, but all of them show talents that could be put to more effective use with better material.

Simply put, the score of Snoopy: The Musical lacks any of the wit and tunefulness of its predecessor. Frankly, there's not a memorable song in the piece.

While there are attempts by the songwriters (Larry Grossman and Hal Hackady) to ape some of Clark Gesner's successful Charlie Brown numbers, they don't come close to "My Blanket and Me," "Suppertime," or "Book Report (on Peter Rabbit)," not to mention the big hit, "Happiness."

Snoopy's score is second-rate through-and-through, although there seems to be a Raffi-like sense that the writers intend their audience to be elementary-school children rather than adults.  (More trivia:  Grossman was the composer of five original Broadway musicals, including Minnie's Boys and Grind, none of which had runs longer than three months.  Lyricist Hackady was his collaborator on two of them; those plus two other shows also failed to run longer than three months.)

As for the book, one of the co-writers is "Charles M. Schulz Creative Associates." Enough said about that?

How distant this opening show of the Four County Players' 40th season is in quality from the musical that will close it, Into the Woods. That's something to look forward to. especially if one of the three young male actors in this show's cast -- Peter Balcke (Snoopy), Daniel Neale (Charlie Brown), or Aaron Cohen (Linus) -- ends up playing Jack. Any of them could do it, really.

If you've got kids, feel free to take them to see Snoopy: The Musical. Even if you're disappointed, they won't be.

Snoopy: The Musical continues through July 8 (evening performances at 8:00 p.m. on July 5, 6, and 7; matinees at 2:30 p.m. on July 1 and 8) at the Barboursville Community Center, 5256 Governor Barbour Street in Barboursville, Virginia. All tickets are $12. Call 540-832-5355 for ticket information.

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Kennedy Center Reveals Full Cast of 'Follies' Revival with Bernadette Peters

I received a news release from the Kennedy Center today, with a complete cast list for what promises to be the -- no, make that THE -- biggest musical theatre event of 2011:  a revival of James Goldman and Stephen Sondheim's Follies starring Bernadette Peters.

Here's the rest of the cast, as revealed by the Kennedy Center:

The John F. Kennedy Center for the Performing Arts today announced complete casting for the Kennedy Center revival production of Follies. Principal casting includes Bernadette Peters as Sally Durant Plummer, Jan Maxwell as Phyllis Rogers Stone, Danny Burstein as Buddy Plummer, Ron Raines as Benjamin Stone, and Elaine Paige as Carlotta Campion.

The production will also star Terrence Currier as Theodore Whitman, Christian Delcroix as Young Buddy, Rosalind Elias as Heidi Schiller, Colleen Fitzpatrick as Dee Dee West, Lora Lee Gayer as Young Sally, Michael Hayes as Roscoe, Florence Lacey as Sandra Crane, Linda Lavin as Hattie Walker, Régine as Solange LaFitte, David Sabin as Dimitri Weismann, Kirsten Scott as Young Phyllis, Frederick Strothers as Max Deems, Nick Verina as Young Ben, Susan Watson as Emily Whitman and Terri White as Stella Deems.

Rounding out the ensemble will be Lawrence Alexander, Brandon Bieber, John Carroll, Sara Edwards, Leslie Flesner, Jenifer Foote, Leah Horowitz, Suzanne Hylenski, Danielle Jordan, Joe Kolinski, Amanda Larsen, Brittany Marcin, Edrie Means, Erin Moore, Pamela Otterson, Clifton Samuels, Kiira Schmidt, Brian Shepard, Sam Strasfeld, Amos Wolff and Ashley Yeater.

If the run of the show -- which opens on May 7 in the Eisenhower Theatre and closes on June 19 -- is not already nearly sold out, I would be surprised.

If not, according to the news release, "[t]ickets starting at $45 are available at the Kennedy Center box office or by calling Instant Charge at (202) 467-4600. Patrons living outside the Washington metropolitan area may dial toll-free at (800) 444-1324 or visit us online at www.kennedy-center.org."

I can hardly wait.