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  • Does RECOUNT do more harm than good?


    Mark Crispin Miller <mark.miller@nyu.edu>

    Here (attached) are two great takes on Recount, written by unrivaled
    experts on the Florida catastrophe: David W. Moore, who, as a top
    executive at Gallup, was in the trenches on Election Night, and
    witnessed how the race got called for Bush; and Lance DeHaven-Smith,
    Professor of Public Administration at Florida Atlantic University,
    and author/editor of The Battle for Florida, a seminal collection of
    the major documents. (Both also have essays on Florida 2000 in Loser
    Take All.)

    Let me introduce their work with my own view of Recount (which just
    ended its first run on HBO). It's quite a gripping movie, tightly
    structured and fast-paced, and all too credible. Indeed, Recount is
    so vivid that it hurts, as it returns us to that long, slow nightfall
    when we all sat watching as Bush/Cheney "won," and there was
    absolutely nothing we could do about it. (By "we all," I don't mean
    Democrats--as a New Yorker, I did not vote for Al Gore--but we
    believers in the Constitution, fair elections, and reality.) Many
    people talk about the movie by uneasily noting that it made them feel
    exactly as they felt back then: crushed, defeated, powerless--a sense
    of helplessness, I've heard some say, that darkens their anticipation
    of this next election.

    Now, some might praise the movie for so strong an evocation of that
    moment some eight years ago, but I would say that, by inducing that
    old feeling of paralysis, Recount does more harm than good. Indeed, I
    liked it less and less the more I thought about it, realizing that it
    could have left us in a very different frame of mind. If the movie
    had been braver and more honest, daring to recount the bigger and
    much darker story of how Team Bush really "won," it would have had
    the paradoxical effect of leaving us not whimpering in remembered
    pain but standing up in righteous anger, calling for investigations,
    prosecutions and-especially-reform. HBO's own Hacking Democracy had
    something of that positive effect, contributing immensely to the
    movement against electronic voting; and there is no good reason why
    this movie too could not have moved us beyond fatalism.

    But Recount stays on safer ground. Although the film is often
    chilling, its conception of the struggle in the Sunshine State is
    ultimately comforting, and very simple: a giant post-election brawl
    between the two campaigns, one nasty and one nice as pie. The Bush
    team won, according to this view, because they were far tougher and
    more agile than Gore's people, improvising ruthlessly from day to
    day, until they pulled it off. Thus the GOP did not engage in a
    conspiracy (there is, in fact, no other word for it), but triumphed
    sheerly through their fierce--but surely not illegal--tactics after
    the Election.

    The filmmakers derived this view from several mainstream books, whose
    authors served as paid consultants on the project: Jeffrey Toobin's
    Too Close to Call, Jake Tapper's Down and Dirty, David A. Kaplan's
    The Accidental President, and Deadlock by David von Drehle and Ellen
    Nakashima. Written by outsiders (representing, respectively, The New
    Yorker/CNN, ABC News, Newsweek and The Washington Post), these books
    largely skim the surface of events, offering little background on the
    politics of Florida; and--even more important--they stick close to
    the Establishment consensus that there's no election fraud in the
    United States. Such, therefore, is the bias of the movie, which, as
    Lance DeHaven-Smith notes here, bends over backwards (as it were) not
    to indict Team Bush for any crimes.

    Hence the movie's over-focus on James Baker, the old cynic who was
    called in after Election Day to manage the theatrics--a task he
    carries out with cold aplomb, and a certain scary charm, thanks to
    Tom Wilkinson's excellent performance. (Baker, understandably, quite
    liked Recount.) Meanwhile, Jeb Bush is almost wholly absent from the
    film, which represents him as a mere by-stander, even though his
    office ran the massive drive to disenfranchise tens of thousands of
    Floridians. On the misuse of the felons lists to sideline all those
    Democratic voters, Jeb worked hand in glove with Katherine
    Harris-whom the movie casts as an erratic flake, who needed firm
    control by Baker's men. Although she was indeed a weirdo, Harris also
    was a dedicated supervisor of the winning effort to erase those
    voters from the rolls, but you wouldn't know it from Recount, which
    groundlessly depicts her as somewhat ambivalent about her mission.
    (An acolyte of theocratic luminary Francis Schaeffer--she went to
    Switzerland to study with him--Harris seems to have perceived her
    work against the voters as her Christian duty; and yet the film plays
    her religiosity for laughs.)

    From start to finish, Recount tunes out, or plays down, the
    conspiratorial dimension of the story, and thereby represents as a
    fiasco what was actually a coup. As David Moore notes here, the movie
    wrongly claims that ABC first called the race for Bush and Cheney on
    Election Night--an honor that belongs to FOX News, where Bush's
    cousin managed the decision desk, and called it for his kinsman after
    many phone calls to and from the Brothers Bush and Rupert Murdoch.
    (At NBC there was a different drama, as "Neutron Jack" Welch-CEO of
    GE, the network's parent company-loitered in the newsroom, pestering
    the journalists to call it for Bush/Cheney.) While Recount does a
    good job showing how the e-voting machinery malfunctioned throughout
    Florida--getting all jammed up with chads, counting votes as
    undervotes, etc.--here too the filmmakers neutralize the story; for
    Recount fails to note the stunning fact that those machines screwed
    up because they had been fed with the wrong kind of paper ballots.
    The top men at Sequoia, the manufacturer of those machines, had been
    forewarned about that problem, and its likely consequences-and they
    did nothing whatsoever to correct it.

    In its only reference to the pre-election plot, Recount likewise
    minimizes the offense. The movie does acknowledge that a lot of
    Democratic voters had been wrongly stricken from the rolls as felons,
    or ex-felons-a stroke of disenfranchisement that sidelined 20,000
    citizens, according to the film. In fact, the toll was (at least)
    50,000 voters; and, as DeHaven-Smith observes, such vote suppression
    was no snafu but a major crime. (In 2004, the felons lists were used
    again to purge more Democratic voters from the rolls in Florida.)
    And, speaking of law-breaking, the movie also lands a very light blow
    on the Supreme Court, by noting only that their intervention was
    improper, and their argument in Bush v. Gore unclear. Nowhere does
    the film suggest that Rehnquist, Thomas, O'Connor and Scalia were all
    driven by a flagrant party bias-clear grounds for their impeachment,
    as Vincent Bugliosi has so strongly argued, and yet somehow not worth
    even hinting at in Recount.

    However, it is at the very end that Recount cops out most
    egregiously. The last shot is a great one: a grim Kubrickian view
    down a long corridor, with floor-to-ceiling shelves on either side,
    all loaded up with crates of ballots--ballots that had not been
    counted at the time. And yet, of course, those ballots were counted
    eventually, by the National Opinion Research Center at the University
    of Chicago, with the help of all the nation's leading media outlets;
    and what they ultimately found was that, by every standard, Al Gore
    won. Again: If all the ballots in the state of Florida were counted,
    Al Gore won--a fact that goes unmentioned at that final moment, as
    that great shot fades to black without an epilogue.

    That silence is especially perverse, considering the movie's heavy
    moral emphasis on the importance of our knowing, to a certainty, who
    won. Indeed, the movie's moral climax has Ron Klain, the story's hero
    (played beautifully by Kevin Spacey), blurt out his frustration in a
    hotel bar: "I just want to know who won this election!" That the film
    itself refuses to supply that information suggests either bad faith
    or crippling fear, or both.

    And such refusal has made cowards of us all. If Recount had just
    tried, through cinematic means, to tell the truth about that stolen
    race, showing us what really happened (and what is still happening
    right now), and calling it by its true name, that movie would have
    done us all tremendous good, by digging up the buried horrors,
    dragging them into the light of day, and reassuring us that such
    enormous crimes will not be tolerated. In short, such a movie would
    encourage us to stand and fight for our democracy, and not sit back
    convinced that we've already lost.

    [http://groups.google.com/group/newsfromunderground/attach/5cbda

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