I am one of those people – there are lots of us – which is always for one Charles manson Movies. There have been many! All documentary and drama. To not mention TV Special, both Prestige and Tabloid, Broadcast Interview with Manson Acolits, such as Tex Watson and Petricia Crinvinkel, and epic-events television interviews with Charlie, such as one, organized by Tom Snider in 1981, in 1981, in 1981, family “manson” is one for “Jeff Guine”. Vincent Buglioci’s “Helitor Scelter”, the best -selling crime book (seven million copies) in history, remains a granddadi.
The Manson saga has been excavated from every angle. Nevertheless, I am always open to any new ray of light which can be shed on its darkness. So I sat down to see “Anarchy: Manson murders“Directed by a new Netflix documentary Arol Morris (“The Fog of War,” “The Thin Blue Line”), which I will describe as a kind of doubtful curiosity. Given what is a acclaim and intelligent filmmaker Morris, I thought: There is something new here. Or why do it do it? He said, is there really new to search?
The “Caos” shuts down a deep-deepest archival of contemporary documentaries, in which I had never seen before the settings of Manson Crime, a booted body’s ever-oblique shot, as well as images of words that were prohibited for sharing of those that were prohibited from splitting.
What is new compared to the photos, however, the art-grain treatment Morris frames with the entire film. “Caos” Rapid-Fire Punk is filled with coffee-table-book graphics, and mescline cactus such as a touch of flower shots or rigling magots (to search for Gary Hinman’s body after a week with the story (to search for Gary Hinman’s body after a week, or that she goes on, or the mentor is a kind of imagery, or the psychiatry shows the image. Has been placed in the context of aesthetics, as they were severely black and white.
It is like seductive, but let’s clear: It is all manson window dressing. What is really new, Morris, producing the film around an interview with Tom O’Neel, with an interview with the book “CaOos: Charles Manson, CIA, and the sixties secret history,” selects a conspiracy theory about the Manson saga, which wants to explain its most mysterious and harassment elements. Namely, how is it that family members who murdered – with those four “manson girls” along with Tex Watson (who actually used to do most of it) – could be brainwashed and manipulated to get into such a defense?
We know what happened. And we know that mythology is built around it-that Manson was a crooked road-teej criminal, who exploited new young culture to replace himself in the garbage version of a hippie cult leader, which was jointly using a pimp of a pimp, “which was using a pimp,” “which was using a pimp,” “which was using a pimp,” “which was using a pimp.” It would be under the leadership of the revolutionaries) as it was a demonic cacicism. Believers Which will really do anything for him.
But Tom O’Neel feels that this trajectory of events is filled with hole. And he is the one that is going to fill them. Because he has a principle – oh, does he have a principle. This man is a piece of work. He does not have evidence – he has a hump. Which he is ready to leave as a grand missing puzzle pieces.
O’Neel is a former entertainment journalist who received an assignment from the Premier magazine in 1999, how the Tate -Labian killings changed Hollywood; He is going down from a rabbit hole. The origin of O’Neel’s principle is that he has prepared a way to tie Manson’s killings in the hidden dark side of the CIA. They have come to know how to take this mythological chapter of ultraviolet madness and connect it to man.
O’Neel’s focus is Clandstine CIA program known as Makaltra, launched in 1953 and lasted for 20 years. (It was so dice that its records were mostly destroyed in 1973.) Keeping in mind the ongoing experiment in the mind of the Makultra agency, which could be done with hallucinations drugs, and the university could use research centers, most of which did not know that they were working for the CIA. LSD experiments had several dimensions, but one of them is the major aspect that the CIA wanted to see if it could use LSD to produce a programmed killers. The idea, Part Behavior Mod and Part Science-Fi, was very high in the air at the time (this classic 1962 Hollywood thriller “The Manchurian candidate”) was dealt with quite brilliantly. And so you can say what the CIA was doing in its destructive bunkers and Charles Manson was doing an overlap between what he was doing in Spannch with his teachings and drug organs. But there was one Literally relationship?
As far as it goes about here. Manson was released from jail in 1967, and violated his parole by traveling to San Francisco and settling in a height-esbury scene. It is here that he started attracting followers who would become families. Manson spent a lot of time at the height-esbury free medical clinic, mostly because her girls were plagued by Venrael disease. But the CIA also established an office there. Louis “Jolly” West, a psychiatrist who was deeply associated with Makaltra (he is known to hold an interview with Lee Harvey Oswald killer Jack Ruby just before Ruby’s murder case), used a clinic to recruit LSD and youth for his study. He called this place a “disguised laboratory in the form of hippie crash pads”.
But did West and Manson ever meet? O’Neel admitted that she has never found evidence or testimony, which keeps Jolly West and Charlie Manson in the same room. But he’s enough for one Hump To suggest that Charlie learned his mind-control techniques from the CIA.
Since there is no real evidence about this, Morris fills the documentary with a dozen tangents, always saying that he is getting new details and angle – like, for example, his discovery of Manson’s music career, and Charlie actually came to descend a recording contract. Through his friendship with Dennis Wilson, it is actually a manson song, “Sees to East,” between the 1969 album of Beach Boys “20/20”. And the truth is that Manson had a singing voice to know the sweet command. Stranger things must have turned into a one-right wonder compared to this eccentric chronner.
But when music maker Terry Melcher came to Spanish Renge to audition Manson, Melvete liked Charlie’s songs but said, “I don’t know what to do with you.” So Charlie came close, but not very close. And this was an important inspiration for Manson murders, which was at home the first night that Manson thought was Terry Melveter’s home.
But we have done all this before. In “Caos”, Errol Morris made his way through Manson Back-Elies, now mixed in the conspiracy spices. Here is a person named Bernard Crowe who was shot by Manson (and thought, wrongly, that he was killed) because Charlie believed that Crow was a black panther. Here Susan Atkins, Manson’s followers are talking in an old interview, how he and Tax Watson super-vaiyar at the night speed of Sharon Tate (drug factor is a major part of the interpretation of how girls can be seen as “unbeatable”). And here is a theory, introduced in a new interview with Morris, that Charlie was so crazy that he was afraid that one of his followers were going to take him out, so he orbiting the murders to ensure that he orbiting the murders to ensure that everyone was very complex for sniches.
And, finally, here is the most scary principle of Tom O’Neel: the way Vincent Buglioci combined the entire race-war-war/piggy/beetles of the “Helper Scalter”, combined together, which was one of the most magnificent acts of the prosecution, which was not really killed by an American courter, when he was not actually a manson. Just something he came with … to sell books! “Caos” suggests that Manson’s murders were a grand plot, which was orchestrated from the high (by CIA? The Deep State? Nixon?), Which converts America against counterculture. I do not consider that principle for a second, but I think it is true to the spirit of Charles Manson: this is pure madness.
