Released in November 1964, shortly after The Warren Commission's report, this documentary presents itself as a companion piece to the excellent photographic journal FOUR DAYS compiled by United Press International. It also serves as a prosecuting attorney's template for stating the position of Lee Harvey Oswald as the lone gunman.
Beyond this controversial lightening rod, Four Days In November is an effective filmed record of the events surrounding the assassination of President Kennedy. The primary reason for this film's value is the fact that it was released barely one year after the tragedy in Dallas. The nation is still recovering from its shared anguish. The participants interviewed(including Lee Oswald's landlady, Earlene Roberts) convey urgency in their voices and mannerisms of events which are still fresh in their thoughts. There is a raw immediacy in the way this film chronicles the last week of JFK with rare archival footage. With an election looming in 1964, we see a campaign stop in Tampa, Florida as the President is serenaded by accordion with "Hail To The Chief" and presented with a doll for his daughter, Caroline. Back in Washington, the President honors a yearly pre-Thanksgiving tradition and spares the life of a healthy turkey on the White House lawn.
Leading up to the Texas trip, Richard Nixon is shown in Dallas as an influential lawyer representing Pepsi-Cola, offering a shrewdly political view as to why JFK is really visiting the Lone Star State. During a stop in Houston, President and Mrs. Kennedy (their last night together) attend an event sponsored by a Mexican-American group called LULACS. Jackie is a hit as she addresses the audience in Spanish. Vice-President Lyndon Johnson is introduced as a "fellow Texan" and provides a few humble words of deference for "our beloved President."
What follows is the searing events of November 22-25 replayed in stark black and white. A jarring sidelight to this film includes the appearance of 19yr. old Wesley Frazier retracing his steps that Friday morning, still fresh in his mind. Again, this relates to the advantage of how recent this event was to the actual filming for this movie. Frazier recalls giving Lee Oswald a lift to work in his 1953 Pontiac on their way to the Texas School Book Depository. The viewing audience sits in the passenger seat next to Frazier as he recalls asking "Lee" about his kids, commenting on the weather and that long bundle wrapped up in the back seat.
Composer Elmer Bernstein provides a heavily percussive,brass-tinged score which serves to augment the movie's subject matter. Richard Basehart gives an appropriately anchored narrative with just the right amount of gravitas.
This film is directed by Mel Stewart who has also lensed THE MAKING OF THE PRESIDENT documentaries, based on the best-selling Theodore H. White books. Stewart would go on to helm the TV docudrama RUBY and OSWALD. In the context of 1964, Four Days In November is like opening a fresh wound. Forty-five years later, it remains a vivid retelling of a dark, sorrowful chapter in American history.
Beyond this controversial lightening rod, Four Days In November is an effective filmed record of the events surrounding the assassination of President Kennedy. The primary reason for this film's value is the fact that it was released barely one year after the tragedy in Dallas. The nation is still recovering from its shared anguish. The participants interviewed(including Lee Oswald's landlady, Earlene Roberts) convey urgency in their voices and mannerisms of events which are still fresh in their thoughts. There is a raw immediacy in the way this film chronicles the last week of JFK with rare archival footage. With an election looming in 1964, we see a campaign stop in Tampa, Florida as the President is serenaded by accordion with "Hail To The Chief" and presented with a doll for his daughter, Caroline. Back in Washington, the President honors a yearly pre-Thanksgiving tradition and spares the life of a healthy turkey on the White House lawn.
Leading up to the Texas trip, Richard Nixon is shown in Dallas as an influential lawyer representing Pepsi-Cola, offering a shrewdly political view as to why JFK is really visiting the Lone Star State. During a stop in Houston, President and Mrs. Kennedy (their last night together) attend an event sponsored by a Mexican-American group called LULACS. Jackie is a hit as she addresses the audience in Spanish. Vice-President Lyndon Johnson is introduced as a "fellow Texan" and provides a few humble words of deference for "our beloved President."
What follows is the searing events of November 22-25 replayed in stark black and white. A jarring sidelight to this film includes the appearance of 19yr. old Wesley Frazier retracing his steps that Friday morning, still fresh in his mind. Again, this relates to the advantage of how recent this event was to the actual filming for this movie. Frazier recalls giving Lee Oswald a lift to work in his 1953 Pontiac on their way to the Texas School Book Depository. The viewing audience sits in the passenger seat next to Frazier as he recalls asking "Lee" about his kids, commenting on the weather and that long bundle wrapped up in the back seat.
Composer Elmer Bernstein provides a heavily percussive,brass-tinged score which serves to augment the movie's subject matter. Richard Basehart gives an appropriately anchored narrative with just the right amount of gravitas.
This film is directed by Mel Stewart who has also lensed THE MAKING OF THE PRESIDENT documentaries, based on the best-selling Theodore H. White books. Stewart would go on to helm the TV docudrama RUBY and OSWALD. In the context of 1964, Four Days In November is like opening a fresh wound. Forty-five years later, it remains a vivid retelling of a dark, sorrowful chapter in American history.