Errol Morris and Tink Thompson share an obsession about the nature of photographic evidence. In a short film for the NY Times, Morris talks to Thompson about the photographic and filmic evidence of the JFK assassination, which Thompson has been investigating on and off since 1963.
Interesting that 1) there exists much more photographic evidence of the assassination than is commonly shown/known, and 2) Thompson very much has a theory of what the evidence shows but Morris doesn’t spill those particular beans:
Is there a lesson to be learned? Yes, to never give up trying to uncover the truth. Despite all the difficulties, what happened in Dallas happened in one way rather than another. It may have been hopelessly obscured, but it was not obliterated. Tink still believes in answers, and in this instance, an answer. He is completing a sequel to “Six Seconds” called “Last Second in Dallas.” Like its predecessor, this book is clearly reasoned and convincing. Of course, there will be people who will be unmoved by his or any other account.
See also Morris’ previous short film featuring Thompson & the assassination, The Umbrella Man.
On the 48th anniversary of the assassination of JFK, Errol Morris talks to Tink Thompson about “The Umbrella Man”, a gentleman who was pictured in the Zapruder film standing with an open umbrella near where Kennedy was shot on a sunny day. The result is a nifty six-minute film.
For years, I’ve wanted to make a movie about the John F. Kennedy assassination. Not because I thought I could prove that it was a conspiracy, or that I could prove it was a lone gunman, but because I believe that by looking at the assassination, we can learn a lot about the nature of investigation and evidence. Why, after 48 years, are people still quarreling and quibbling about this case? What is it about this case that has led not to a solution, but to the endless proliferation of possible solutions?
The Updike piece from the New Yorker is available here (subscribers only, but the abstract is informative):
For example, “the umbrella man”: though the day was clear and blowy, he can be detected, in photographs, standing on the curb just about where the assassination would in a few seconds occur, holding a black umbrella above him; seconds later he is again photographed, walking away, gazing tranquilly at the scramble of horrified spectators. His umbrella is now furled. Who was he? Where is he now?
The film pairs nicely with Morris’ recent interview of Stephen King about the latter’s new novel based on the Kennedy assassination.