There's a great scene in the classic 1983 Brian De Palma remake of Scarface where Tony Montana (played by Al Pacino) publicly denounces the general hypocrisy of a gluttonous, wealthy gaggle of diners at an upscale restaurant. Oliver Stone wrote that scene (and the rest of the screenplay); and this segment is but one facet, one stream of light through the diamond prism, one small piece of the puzzle that shapes the inner life of the decorated (Purple Heart) Vietnam Vet turned filmmaker.
Stone is a bold, sometimes brilliant, often provocative, controversial confronter of apathy and instititutional hypocrisies. He deals confident blows with movies that have defined the last 30 plus years of cinema. He does not tread quietly or play it safe. He mostly works in broad strokes and definitive jabs. Stone's presence has been constant and substantial since winning an Academy Award for writing Alan Parker's Midnight Express in 1978 (although it would be 8 years before he received the directing accolades he deserved, for Salvador and Platoon).
Born in 1946 to a Wall Street father (who died penniless- according to Stone) and an erudite, social butterfly mother who was no stranger to entertaining art lovers and the upper class- Stone rebelled against his “privileged” upbringing by entering the theater of war, Vietnam. A disillusioned and ambitious young man emerged from that “Police Action” and found himself at NYU Film School (where a young Martin Scorsese taught and encouraged Stone). Post NYU, Stone eventually found palpable screenwriting work- winning an Oscar for the Alan Parker directed Midnight Express (1978) and then scripting Conan, the Barbarian (1982), Scarface (1983) and Year of the Dragon (1985)- to name just a few. After directing the superb Salvador in 1986 (the only notable filmic treatment of U.S. involvement in El Salvador circa Reagan era) Stone was finally given a green light on his Vietnam screenplay- the sublime and operatic Platoon (1986). Platoon became an Academy Award winner and a hit. Stone followed with the prophetic Wall Street (1987), the interesting Talk Radio (1988), the stunning American fairy tale, Born on the Fourth of July (1989), and the psychedelic, Fellini-esque circus, The Doors (1990). In 1991 he made a watershed film with magnificent editing and an all-star cast, JFK. JFK, possibly his finest movie, sparked a renewed interest in the assassination of president John Fitzgerald Kennedy bringing to light pivotal information regarding a shoddy initial investigation by the (Earl) Warren commission. In 1992 Stone made the gorgeous, shockingly overlooked, Heaven and Earth- then he directed the satirical comic warning, Natural Born Killers (1994). Stone's film about Richard Nixon, Nixon (1995), is a Shakespearean (Macbeth) toned work of inspired speculation so honest and sympathetic to its protagonist it likely alienated moviegoers and critics. Stone is oft criticized for rewriting history- which is ludicrous- he interprets history. Artists must do this. It’s essential and revelatory. This should be common sense.
Stone made U-Turn, a biting and literal film noir, in 1997; and directed Any Given Sunday (1999), a messy but entertaining football movie with some glorious moments and a fantastic Al Pacino performance. Stone’s brave epic about Alexander the Great, Alexander (2004), is one of the most misunderstood and unloved films of the last half century. Alexander- contrary to popular belief- is a nuanced, thoughtful, outstanding achievement containing spectacles and insight no other director would dare attempt. World Trade Center (2006) was Stone demonstrating a somewhat uncharacteristic modesty and stark realism reminiscent of Goya paintings. It is- to date- the only truly direct treatment of one of the most significant events to ever occur on American soil. After making W. (a very under-appreciated Josh Brolin performance as George Bush Part II) and a very capable sequel to Wall Street, Money Never Sleeps (2010), Stone made a fluorescent character driven action film commenting on the drug trade, Savages (2012). Stone also peppered the 2000’s with fine documentary work- including significant output expressing his interest in and relationship with the recently deceased Fidel Castro.
Stone has also written a book or two along the way, done some television work (2013's The Untold History of the United Sates is exceptional, incomparable and mandatory Stone viewing- also reading- as it is a book he co-authored with Peter Kuznick), travelled the world appearing and speaking in various capacities, openly supported many controversial one man zeitgeists (Julian Assange, Edward Snowden), and repeatedly demonstrated bravado, determination and perseverance in a world of diminishing values and attention spans. Stone cultivates the single most important asset a man can possess if he wishes to make a considerable impact on the world- a resilient capacity for humiliation. The writer/director has withstood immense criticism and scrutiny thru the years- consciously placing himself in harm’s way- and (to my mind) emerging triumphant with statements, observations and dialogues most would never approach- let alone make movies about. I have always defended Stone and been baffled by the ignorance of his detractors; I've met him three times and found him to be a intelligible, tireless, passionate lover and defender of this country.
Olive Stone is the single most targeted filmmaker of his generation. I've seen unworthy, distrustful, conventional media fingers pointing in his direction for years. He seems to always be the reliable target for poised axe-grinders and right wing blowhards dependent on the fickle temperature of the socio-political winds. And yet- here he is- still making films, still relevant, with a number of various awards including 3 Oscars. Is Stone flamboyant and controversial? Of course- it's I love him. Who would do it if not him? Truth can sometimes be accompanied by a dramatist's flair lest Americans snore, drone, and consume their way into a totalitarian future Stone sees brewing. Is the filmmaker infallible? Of course not. But he says exactly what he thinks and takes bullets for those who have no mind to do the same.
He happens to be one of the greatest directors in movie history. His critics and naysayers might do well to pipe down and acknowledge this fact rather than raking the director over the coals for his risky, enviable, obsessive convictions. Oliver Stone never claimed to be perfect; but he has claimed to be a dramatist entitled to his interpretations. His next idea is usually the type of thing most significant talents agonize and rant about day and night- difference is Oliver Stone will actually make a movie about it. I hope he never stops.