Alessandra Stanley

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]