Media Smarts final: "All the President's Men" analysis

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“All The President’s Men” The Headliners

Publishers: Betsy Blanchard, Erik Dalton, Teddy Royer, Kristen Steiner

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The Watergate burglars, from left to right: James McCord, Jr., Virgilio Gonzalez, Frank Sturgis, Eugenio Martinez, and Bernard Baker.

Watergate burglary begins Nixon problems

BY KRISTEN STEINER

L

ate one June night in 1972, Bernard Barker, Virgilio Gonzales, James McCord, Eugenio Martinez and Frank Sturgis were caught red-handed trying to burglarize and bug the Democratic Party National Committee offices. The arrest of these men started a series of events that led to uncover a large amount of secret and illegal dealings going on within the White House in connection with President Richard Nixon, his staff and several White House and administration officials. The burglary made public the political scandal known as Watergate. After

the burglary, the term Watergate no longer referred to one of the plushiest hotels in Washington, but it was a term that encompassed several different themes such as burglary, bribery, extortion, conspiracy, obstruction of justice, evidence destruction, and in general, an abuse of power.

After the five men were arrested in Watergate, Bob Woodward, a newly hired writer for The Washington Post, learned that McCord was a former member of the CIA. He also learned that McCord was also one of several people responsible for the security of the Committee to Re-Elect the President, or as it was referred to, CREEP .

Brief synopsis of the person, event, conflict on which the film is based.

Beyond that, the phone number for Howard Hunt, a member the White House plumbers group, a secret team instigated to stop governmental leaks, was found in the address book of one of the burglars, giving journalists a place to start their investigation.

Through extensive research and journalistic digging, Woodward, Bernstein, other journalists and the FBI discovered there was more to the Watergate story then originally met the eye. As written

by Woodward and Bernstein in a 1972 Washington Post article, it was discovered that CREEP was using the finances for a secret slush fund. The connection came when

History and Hollywood • $0.00 a $25,000 dollar check was found in the bank account of one of the Watergate burglars. Several prominent individuals donated to CREEP thinking that its use would be that to aid the President in getting re-elected, but it turn out their money was funding a lot more. It was also discovered that the breakin itself stemmed from the massive campaign on behalf of the Nixon re-election campaign. Although this information had been presented to the public and been in circulation, President Nixon was reelected for a second term, winning with more than 60 percent of the votes in 1972.

After Nixon’s reelection in, Watergate began to truly affect those involved in early 1973. Gordon Liddy and James McCord were convicted of conspiracy, burglary and wiretapping while the five burglars were also convicted for burglary. Beyond the initial seven people convicted, this scandal was so great that more than 40 people, including top White House officials were tried, convicted and incarcerated. Besides those convicted in crimes, top White House officials such as Haldeman, Ehrlichman, and Attorney General Kleindienst resigned due to the scandal and story continues on the next page

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many people, like White House counsel John Dean, were fired.

By May 1973, the Senate Watergate Committee began court hearings where more information was made present as to how in-depth the scandal truly was. Dean told courts that he had indeed discussed Watergate with President Nixon and that all of their discussions had been taped.

Over the next year, the committee and several other people tried to get the tapes. Nixon, however, tried his hardest to keep from handing them over. It was argued that because he was the President, it was his executive privilege that allowed him to keep the tapes.

However, Judge John Sirica, the Senate committee and special prosecutor Archibald Cox were more than determined to have them. Due to the persistence of Cox’s want for the tapes, in October of 1973 Nixon fired Cox, causing several other Justice Department officials to resign in protest. Thus, the Saturday Night Massacre.

By early 1974, Nixon partially

BACKGROUND

caved and released transcripts of some of the tapes to the House Judiciary Committee, yet the committee still demanded that all of the tapes be turned over in full, rejecting the President’s executive privilege plea. By mid 1974, the impeachment process had been started, but before impeachment could occur, Richard Nixon stepped down as President of the United States, being the first president to ever do so on August 8, 1974.

Watergate not only affected those involved and the reporters covering the story, but it changed a nation.

It changed how American citizens viewed investigative journalism as well as how the government was viewed (see graph in the Themes section). After Watergate broke, Americans’ faith in the government dwindled greatly. Watergate proved to be one of the biggest political scandals in American history that resulted in much to be learned “Strange--They All Seem to Have Some Connection With This and fixed in the political system Place.” Cartoon created June 23, 1972 by the Washington Post’s that is still being carried through to “Herblock.” today.

Brief synopsis of the person, event, conflict on which the film is based.

BACKGROUND

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Woodward: newspaper novice turned Watergate workhorse Woodward and Bernstein’s and their team of journalists that lead Bob Woodward, an Illinois nato President Nixon’s resignation or tive, studied history and English lit- the arrests and jailing of over 40 erature at Yale and graduated with White House officials, their reports a B.A. degree in 1965. After being did have a significant impact in discharged from the army in 1970, uncovering the Watergate scandal Woodward strongly considered due to the accuracy and awareness attending law school but applied created through the paper. for a position at the Washington Throughout his years of reportPost instead. Due to his lack of ing, Woodward has not only been experience, he was not hired - but praised by his colleges, but by his after working for a year at another competitors as well. He as been newspaper, Woodward was hired at said to be one who gets it right and the Washington Post in 1971. is always ahead of the game.

After being at the paper for only Beyond writing for newspapers, a short time, Woodward was paired Woodward is also a highly-acwith Carl Bernstein on a story reclaimed author who has written garding the Watergate burglary. Lit- over a dozen books regarding tle did he know that the assignment different political insight, scandal would lead to a promising career and inside information for several and a great insight into some of our different presidents. One of the nation’s most important findings. books, co-authored with Bernstein, During the series of articles was titled All the President’s Men, written for the Post, Woodward in which the two described their and Bernstein were constantly experience and findings while redenounced by White House offiporting on Watergate. cials and representatives, but later Woodward has won numerous many of those statements were amount of prizes and awards some retracted or apologized for. In of which include the Sigma Delta 1973, six months after bashing the Chi Award and the William Allen two reporters, White House Press White Medal, both prestigious Secretary Ron Ziegler stated, “I journalism awards. He was also would apologize to the Post, and I involved when the Washington Post would apologize to Mr. Woodward received its two Pulitzer Prizes in and Mr. Bernstein….They have vig- both 1973 and 2002. To this day, orously pursued this story and they Woodward serves as an associated deserve the credit and are receiving editor of the Washington Post and the credit.” appears quite often on news staAlthough it was not solely tions and television newscasts.

BY KRISTEN STEINER

Top: Bernstein and Woodward in the Washington Post office. Right: Woodward, years after the Watergate crisis.

Brief synopsis of the person, event, conflict on which the film is based.

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BACKGROUND

Lack of a college education couldn’t stop Carl Bernstein

BY KRISTEN STEINER

Carl Bernstein was born in Washington, D.C. in 1944 and was exposed to media and news writing at a young age. While in high school, Bernstein took a typing class and partnered that skill with working as a copy boy at the Washington Star at the early age of 16. When applying for a writer’s position, the Star refused to higher him because he did not have a college degree. However, the Post was a different story and Bernstein was hired on at a young age.

In 1972, Bernstein was partnered with Woodward to cover the breakin at the Democratic Party National Committee offices at the Watergate hotel that led the reporters to become two highly important people during the Watergate scandal.

Between Woodward’s wit and gusto and Bernstein’s persistence and writing ability, the two, along with a team of Post journalists, helped to uncover one of America’s greatest government cover-ups.

After Watergate died down, Bernstein left the Post in 1977, did some investigative journalism for a while and then began working for ABC news in 1980 where he continued in investigative journalism dealing mainly with stories and articles that exposed much of the political spectrum.

Bernstein has also written for a mass amount of media such as Rolling Stone, Vanity Fair, The New York Times, Time and many more.

Beyond magazines and newspaper, Bernstein co-authored, with Woodward, All the President’s Men and The Final Days, both books regarding Watergate. He has also written a few other books such as John Paul II and the History of Our Time and a biography of Hillary Rodham Clinton.

Beyond writing and being still highly involved in journalism, Bernstein appears on regular television programs from time to time as a guest and analyst. He and Woodward still keep in contact and are still good friends to this day.

Top: Woodward listens in on Bernstein’s phone call.

Bottom: The two reporters walk in front of the White House.

Brief synopsis of the person, event, conflict on which the film is based.

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WHO’S WHO

BACKGROUND

Among the President’s Men

RICHARD NIXON, President of the United States of America

KENNETH W. CLAWSON, Deputy Director of Communications, White House

JOHN D. ERLICHMAN, Assistant to the President for Domestic Affairs

E. HOWARD HUNT, JR., Consultant to the White House

JED STUART MAGRUDER, Deputy Campaign Director, CRP; former Haldeman aide and Deputy Director of White House communications

*Disclaimer: this is not a complete representation of ”the president’s men” but it contains the characters we found most prominent in both the film and book.

BACKGROUND CHARLES W. COLSON, Special Counsel to the President

G. GORDON LIDDY, Finance Counsel, CRP; former aide on John Erlichman’s staff

JOHN N. MITCHELL, Campaign Director, CRP; former Attorney General

H.R. HALDEMAN, Assistant to the President; White House Chief of Staff

DONALD H. SEGRETTI, Attorney

HERBERT W. KALMBACH, Deputy Finance Chairman, CRP; personal attorney to the president

EGIL KROGH, JR., Deputy Assistant to the President for Domestic Affairs; aide to Ehrlichman

HERBERT L. PORTER, Scheduling Director, CRP; former aide to Haldeman

ROBERT C. MARDIAN, Political Coordinator, CRP; former Assistant Attorney General

HUGH SLOAN, JR., Treasurer, CRP; former aide to Haldeman

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THEMES

Bernstein and Woodward portrayed as journalistic heroes

BY TEDDY ROYER

All The President's Men takes the actions of two Washington Post journalists and transforms their everyday effort to find and publish truth into heroic acts of valor.

The way they are seeking the truth tirelessly creates a bond between the viewer and characters because who does not love someone who stands up for your rights and your safety? An example of this tireless work is found in the clip near the end when Bernstein and Woodward are talking with their editor Ben Bradlee. The editor, who is upset about potential errors in the story, says to the two men, “Go on home, get a nice hot bath, rest up. Fifteen minutes then get your asses back in gear. We're under a lot of pressure and you put us there, nothing's riding on this, except the 1st amendment of the Constitution, freedom of the press and maybe the future of the country... Not that any of that matters” (2:10:00).

In their pursuit of the truth, they were given a measly 15 minutes to get back on track because it was their job to protect the “1st amendment of the Constitution, freedom of the press, and the future of the country.” This protects us, the citizens of the United States, who bask in the freedom that is guaranteed to us by the 1st amendment. We feel connected to these two journalists who are framed as our protectors.

We want them to succeed. Their success means our success. They’re unselfish and brave.

The social responsibility theory is based off of people's expectations that the press will act as a watchdog on government by giving them the information needed to make correct and informed decisions. As the reporters draw closer and closer to the truth, we see them using every contact and informant that they had so that they could find the truth and to report it because it was their responsibility. They never ask anything for themselves. It was always for the story, the truth and for the readers’ benefit. Again, they are framed as our heroes.

Example 1: Throughout the film, a reoccur-

What are the major themes/frames of the film?

ring theme is that part of press's responsibility is to report the facts accurately. Prior to a story being published, the editors would always ask Bernstein and Woodward if they were sure of what they were publishing and if they had confirmed it all. At 1:34:00, Bernstein and Woodward are preparing to run a story, claiming that John Mitchell, while in office as attorney general, was in charge of a slush fund that paid for the investigation of democratic operations. At this point in the movie, Ben Bradlee, the executive editor for the Washington Post, sets the two reporters down and asks them, “You properly identified yourself? Mitchell knows he was talking to a reporter? You had good notes? He really said that?” All of these questions drive home the point that in order to report a story, especially one with so much at stake, you must be right. This scene captures the feeling of the film that they are trying their hardest to make sure they are accurate, truthful and fair. They are virtuous soldiers fighting for the people, doing what’s right the right way. The film almost constantly consisted of scenes where the re-

porters worked up a sweat in order to ensure accuracy. This repetition drives the point home.

Example 2: During the film’s opening sequence, a typewriter writes, “June 1, 1972” - as each letter is pressed to the paper, the sound of a shotgun is played. This supports the idea of words as weapons, the tools used by our hero-journalists to take down the bad guys. It’s a clear, powerful device setting a tone for the rest of the film.

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THEMES

ATPM serves as poor marketing for the U.S. government

BY TEDDY ROYER

Another reoccurring theme throughout the entire film is distrust of the government, an inevitable theme that simply comes with the territory of the Watergate scandal. This comes as no surprise when you look at when the film was created; in 1976, just one year after the fall of Saigon and the end of America's involvement in the Vietnam War, public opinion of the government, which had been plummeting for some time, reached a low of 34 percent (see chart). It is possible that because opinion was so low, the producers thought that a film vilifying the government and empowering the common working man would appeal to many viewers. The amount of awards that it received would have us believe that it was very well accepted at the time of its debut.

Example 1: A feeling of distrust can be felt from the very beginning of the film. A reporter is addressing an audience describing the arrival of Marine 1, the president’s personal helicopter. The viewer then hears, “Amazing timing, the president flying all the way across the world...

arriving almost exactly, exactly as scheduled at 9:30 at the Capital Plaza.” Though subtle, a picture is immediately painted of a government figure with so much control that he can accurately schedule an appointment from across the world and be there on time.

Immediately following this, President Nixon is shown walking into the chamber of the House of Representatives amid standing applause and surrounded by his escort committee. He then turns to address the congregation of delegates and reporters. This is only 16 days prior the Watergate burglary that would eventually lead to an entirely different type of address, his resignation speech. For viewers watching this film that had lived through the Vietnam war and the Watergate scandal, this opening scene would set the stage for an undercurrent of mistrust that flows through the film.

Example 2: That current becomes stronger in the film as only a few minutes pass and the five Watergate burglars are

brought before a judge in to be arraigned for their crimes. As Woodward arrives at the courthouse to cover the story, he searches for a lawyer to talk to about the five men who had been arrested. He was first told that they had had a public representative assigned to defend them, only to have a “country club type lawyer” show up and take the case from them. He engages in conversation with a lawyer who says he’s not there on business, but Woodward - our hero - is skeptical.

Therefore, we’re skeptical.

From the start, air of confusion and distrust is established. How did a bunch of common burglars suddenly have a high class lawyer?

Example 3: When a White House librarian tells Bernstein she remembers Howard Hunt checking out books on Senator Kennedy before quickly retracting her statement, as if somone had gotten to her. Who? We assume the government, furthering our distrust.

What are the major themes/frames of the film?

THEMES

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Frames galore in All The President’s Men

sic. Combining these can perhaps be the best tool that a director Media are constructions created and producer can use to create an to serve a purpose. All the Presiatmosphere conducive to the mood dent's Men was created to show the that they want. One reason it is media coverage of a monumental so effective is because viewers do event in American history all while not even notice that they are being entertaining an audience. This put influenced by it. By removing a the director, Alan J. Pakula, in a bit of light from a scene, directors situation that gave him the choice can immediately make the film as to how he would incorporate ac- look dark, foreboding and mystericurate details alongside imaginative ous. Take for example the parking or vague happenings. garage that Woodward visits on The biggest frame was set from various occasions during the film. the beginning when, on the front It is poorly lit and has only has just of the movie poster the words read, enough light to see by. His con“The Most Devastating Detective tact, Deep Throat, stands deep in Story of This Century” (IMDB). Pa- the shadows of a pillar making it kula decided that in order to make almost impossible to make out any the movie interesting he would facial features. The voice coming have to take the truth and add from the shadows is shrouded in some dark corners, intense music, darkness and secrecy. and real investigative work to create a cloak and dagger experience that would keep the viewers on the edge of their seats. This was made all the easier because the original story was one of investigative journalism, The final time that we see Deep but by using framing techniques, Throat, (2:08:00) the storyline is at limited truths and artistic license, an all time low. The Washington he created a film capable of mainPost was being attacked by those tain the audience’s attention. accused of crimes in their stories, One way that Pakula was able everything was being denied and to create this James Bond-esque Woodward and Bernstein's story, film was by the using cinematic as well as careers, were on the line. effects such as lighting and muIt is a very low point for the two

BY TEDDY ROYER

What are the major themes/frames of the film?

reporters, and when Woodward meets with Deep Throat, his face is just about completely covered in darkness. There is a sense of finality behind it and by using lighting to accompany the plot line, Paluka has added that much more depth and interest.

Music also plays a large role in framing and setting the tone for the movie. Towards the end of the movie, music (1:47:00) is used to add an air of mystery as Woodward walks away from a garage where a meeting with Deep Throat had mysteriously and abruptly ended.

Low, slow music starts to play and Woodward pauses to listen if he is being followed adding a sense of mystery and suspense to leave the viewers believing that Woodward truly is in danger.

And as has been mentioned in a few other places, we find it extremely important to note the film’s two-man team emphasis. We are made to believe that these two men played a primary, direct role in the eventual resignation of Richard Nixon. While they did play a large role in revealing and futhering what was considered confidential FBI information, they were not alone in the pursuit of justice. There were also dozens of other reporters and government-is-

sued investigators looking into the matters at hand.

Another example includes the fact that the film fails to mention the several breaks between stories (205). The book talks about breaks as long as six weeks between worthwhile leads. By excluding these frustrating pauses from the film, the director frames the pursuit of truth as persistent, fastpaced and constant. While it is true they were seeking out stories even during those breaks, they weren’t constantly inding revelatory, uproarious leads.

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SIMILARITIES Left: Robert Redford and Dustin Hoffman. Right: Bob Woodward and Carl Bernstein.

Given the time constraints, ATPM offers lot of precision

BY BETSY BLANCHARD

The majority of the movie’s interviews and crises were as close to identical as a knowledgeable mover-goer would hope for them to be. I was pleased – some scenes, like where Kenneth Dahlberg claims that his neighbor’s wife has been kidnapped – seemed too silly to be real, but the book confirms it to be true.

Bernstein and Woodward were portrayed in the film much like I would have imagined them to be had I read the book first. One

of the book’s first descriptions of Bernstein is written from Woodward’s perspective after he noticed that Bernstein was working on the Watergate burglary story, too: “Oh God, not Bernstein, Woodward thought, recalling several office tales about Bernstein’s ability to push his way into a good story and get his byline on it” (14).

This pushy attitude was established early and remained true and consistent throughout both the novel and film. One of the most telling scenes this was when Bernstein took it upon himself to

rewrite Woodward’s story about a Watergate burglar’s identity as a salaried security coordination of CRP. The book reads, “Woodward decided to walk over and find out what was happening. Bernstein was rewriting the story. Woodward read the rewritten version. It was better” (22).

The book also describes Bernstein’s early perspective on his colleague: “Bernstein knew that Woodward couldn’t write very well. . . Bernstein thought that Woodward’s rapid rise at the Post had

less to do with his ability than his Establishment credentials” (15).

The scene, very close to that as was described in the book, sums up all of these thoughts early on.

It’s an example of an artistic liberty we felt was particularly well done – a single scene, unmanufactured, that effectively captured what three scenes could have been used to do.

What are the major similarities between the film and reality?

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SIMILARITIES

That dramatic scene?

Surprisingly accurate

BY BETSY BLANCHARD

One of the most dramatized scenes in the movie surrounds the controversy following the Post’s published claim that Hugh Sloan named Haldeman before the grand jury. Apart from small newsroom conversations (which can’t possibly be replicated exactly), the scene played out much like it was described in the book.

Prior to publishing the story, the Post sought three confirmations: the one they thought they had from Sloan, an unofficial FBI nod and, at the last minute, a lawyer from the Justice Department. Realizing the lawyer was in no place to say directly whether or not it was right to say Sloan named Haldeman before the grand jury, Bernstein asked the lawyer to hang up before he counted to ten if the claim shouldn’t run.

The lawyer did not hang up. They published it as written. Apparently, the lawyer misunderstood what Bernstein said. Sloan denied the

statement. The Post received a lot of backlash.

This movie did a fantastic job explaining this scene. The reporters were in fact under a tight deadline.

Bernstein really did count to ten, only to have the lawyer confuse the instructions. The reporters, after acquiring their third “confirmation,” were told they could wait to publish the next day if they wanted to make sure (*it’s a small detail I don’t find to be an issue, but the movie has Bradlee saying this, while the book has Simons doing so). They insisted they had it right.

They didn’t.

I appreciated the many small truisms the film clinged onto. As someone who read the book, I was able to appreciate seeing the actors play out a scene much like I would have imagined it in my head, al-

What are the major similarities between the film and reality?

lowing me to feel as if I were really there.

I could list countless parallels between the movie and book. In fact, while I was reading the book, I did compile quite an extensive list on the movie’s true-to-life depictions.

I found myself repeatedly surprised by how many scenes the screenwriter took directly from Woodward and Bernstein’s book, often literally line-for-line. I often found myself reading the next line before I actually read it.

Even the Washington Post office was replicated to mimic reality.

They spent thousands upon thousands of dollars to make every desk, every mess, every bookshelf look just right. Clearly, representing reality was among the director’s list of priorities.

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DIFFERENCES

No easy task

Robert Redford and Dustin Hoffman act as Woodward and Bernstein.

BY BETSY BLANCHARD

A

s with any book-turnedmovie, details are bound to be left out. There simply isn’t time for every ounce of a 336-page book to fit into a 2-hour movie.

Every omission or addition forces the viewer – assuming they are familiar with Watergate and/or the book the movie is based on – to ask why. Why was that left out? Why was that added? There must be a reason. What is it?

Movie too often failed to recognize roles played by others

BY BETSY BLANCHARD

The movie would have you believe (if you were otherwise unfamiliar) that Bernstein and Woodward had a monopoly of sorts of Watergate coverage, both within and outside the Washington Post itself.

The book makes several references to getting “scooped,” though not always in so many words. On pages 108-110, we learn that the Los Angeles Times got an exclusive interview with Alfred C, Baldwin III, a former FBI agent who participated in the Watergate operation.

The book reads: “Bernstein and Woodward had been aced out. The story was a major break, not just because it contained a great deal of new information, but because it made

the Watergate operation, and the siege mentality behind it, real” (110).

Later, we read in the book that the New York Times “published a story that severely undermined the White House position” (167). The newspaper had obtained telephone records that linked Donald Segretti to Dwight Chapin. Bernstein and Woodward were “ecstatic, their competitive instincts abandoned in gratitude.” The NYT brought them greater credibility.

In the film, we hear of no such gratitude to their newspaper giant competitor. In fact, we hear of no such story.

As a third and final example (I could go on) of exterior assistance/ scooping, the book reads: “Time magazine published the first detailed account of the Nixon administration’s zealous campaign to trace new leaks

by tapping the telephones of news reporters and government officials” (259) – emphasis on the “first.” In writing, Bernstein and Woodward were hardly afraid to admit that they were often beaten to the punch by competitors, a stark contrast to the “Bernstein”-dominated Watergate coverage presented in the movie.

It wasn’t a broad Washington Post-dominated film – it was, more specifically, the Bernstein and Woodward show. However, in the book, the reporters were supplied with much more internal assistance than the movie-goer is led to believe. Bernstein and Woodward admit in their book that it really was a broad Post team effort.

They make no attempt to hide this fact.

For example, in the film, we simply see Bernstein visit the home of Don-

ald Segretti in search of information.

While a similar meeting did occur, the first direct contact made with Segretti on behalf of the Washington Post was actually made by Robert Meyers, a “stringer” recommended by the Post’s national desk. Meyers spent days stalking Segretti’s apartment and interviewing his neighbors (122) before eventually making contact with Segretti himself. In the film, we assume that Bernstein did all the legwork leading up to what seems like a “first” contact with Segretti.

What are the major differences between the film and reality?

DIFFERENCES

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Only one side of Deep Throat is shown to public

BY BETSY BLANCHARD

To intensify the film, a few characters’ personalities were altered to seem more difficult and impenetrable, furthering the film’s effort to make the two reporters seem all the more investigative and capable. We felt that the book’s account made them seem plenty investigative, capable and brave, but the movie was apparently hoping to illustrate this in a different way, likely because time constraints prevent them from truly going into great lengths to detail their every effort.

Deep Throat is a prime example of a character whose basic identity was dramatized for the sake of peaking viewer interest. While many of the meetings in the movie did happen similarly to reality, it becomes more a matter of what was left out than what was included (agenda-setting). For example, Deep Throat and Woodward were more than simply underground acquaintances, as the movie would have you believe. Their cinematic relationship only focuses on the cold and distant.

talking about Washington, the government, power” (130).

During one early-morning garage meeting. one of the few garage interactions detailed extensively in the book, the pair found themselves talking until 3 a.m. “There was more general discussion about the White House, its mood, the war atmosphere.

Woodward and Deep Throat sat down on the garage floor. Neither wanted to end the conversation. . . Exhaustion loosened them up” (134). We never see this more relaxed side of Deep Throat in the film.

At a later underground meeting, the book explains that Deep Throat, “impressed by the groundwork [Bernstein and Woodward] had done,” placed his hands on the hood of a nearby car and gave a mock speech impersonating Ronald Ziegler, the president’s press secretary: “From this podium, I’m prepared to denounce such questions about gentle Colson and noble Mitchell as innuendo, character assassination, hearsay and shoddy journalism” (244). Woodward couldn’t stop laughing. Again, the film fails to show us the lighter side of the pair’s relationship, instead focusing on the dramatics of it all.

While there obviously was a lot of stress and pressure associated with their meetings, the two were friends with an established trust. The book describes their relationship as “genuine, not cultivated. Long before Watergate, they had spent many evenings

What are the major differences between the film and reality?

Carl Bernstein and Bob Woodward in the Washington Post’s office.

“Woodstein’s” jail scare left out of film entirely

BY BETSY BLANCHARD

Once Bernstein and Woodward recognized potential utility of a grand jury member’s inside information, they embarked on a questionable journey to find someone willing to talk.

Woodward took a cab to the courthouse, finally found someone willing to direct him to where lists of trial and grand juries were kept and spent the better part of a day memorizing the 25 names belonging to Grand Jury Number One (208). Later, “the editors and Bernstein and Woodward eliminated nearly half the members of the grand jury as too risky . . . they were looking for the few least likely to inform prosecutors of a visit” (209).

The grand jurors, they knew, had taken an oath of secrecy. The Post’s lawyers agreed, however, that “the burden of secrecy was on the juror. There seemed to be nothing within the law that forbade anyone to ask questions”

(207).

The Post staff was concerned about the “seedy adventure” (210) but pressed on with the plan. To be fair, the reporters did not mention the grand jury unless the juror volunteered it. No one offered the reporters any information. Most acted completely clueless.

A few days later, one of the prosecutors found out about Bernstein and Woodward’s attempts and reported them to Judge Sirica, chief judge of the United States District Court for the District of Columbia. Bennett Williams, the Post’s principal attorney, told the reporters: “John Sirica is some kind of pissed at you fellas . . . we had to do a lot of convincing to keep your asses out of jail” (211).

They later went to court for the act but left without any charges pressed.

Judge Sirica warned that what they did was “extremely serious” (223).

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ETHICS Seek Truth and Report It

BY ERIK DALTON

In the movie All the President’s Men, reporters Woodward and Bernstein take the journalism code of ethics, “Seek Truth”, to a whole new level. The journalists evolve into clue-thirsty detectives that rummage through hundreds of library records, endure long nights of dragging phone calls, and consult with a mysterious source in an ominous parking garage. “Truth” is key in this code of ethics. Is the information that the Woodward and Bernstein went to such great measures to retrieve actually accurate and trustworthy? “WoodStein” are shown in the film to follow this code of ethics in that they are careful in testing “the accuracy of information from all sources.”

Though the reporters start out a little rough with their initial story being denied by the Washington Post Executive Editor Ben Bradlee, they become more careful at checking their sources for accuracy as the story continues to grow into a larger matter. In the film, Wood-

ward uses many unnamed sources in the Watergate story, one being a man who goes by the alias of “Deep Throat.” Woodward interviews Deep Throat in an empty dark parking garage and receives tidbits of information and clues to keep him on the right track.

It is these types of “surreptitious methods of gathering information” that raise attention and question if the information from this source is trustworthy. The information given by these unnamed sources had to be checked and rechecked in order to publish a story based on these sources’ evidence. In the film, Bradlee, is shown yelling “Goddammit, when is somebody going to go on the record in this story? You guys are about to write a story that says the former Attorney General, the highest-ranking law enforcement officer in this country, is a crook! Just be sure you’re right.”

With most of Woodsteins’ sources remaining unnamed it is hard to confirm whether or not information is accurate. This is what makes Bradlee so upset. The way Wood-

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ward and Bernstein sometimes check their sources seems odd, and somewhat rushed to get any confirmation whatsoever. In one scene Bernstein gets a confirmation that was not reliable because the man misunderstood Bernstein on the phone and therefore the source was never actually confirmed. Bernstein did not mean to get the information wrong, but under this code of ethics, journalists should “exercise care to avoid inadvertent error.”

Instead of, as it was portrayed in the film, rushing to confirm information at the last minute before printing the story, the journalists should have taken more time in making sure the confirmation info was accurate.

How do filmmakers represent journalism and journalism ethics?

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ETHICS

Act Independently

BY ERIK DALTON

Under this journalism code of ethics, Act Independently, “The public’s right to know” is seen as one of the most important influencing factors in determining what journalists write about and how they write it. In order to focus in on this factor, journalists must keep themselves free from “associations, employment, political involvement” and other conflict that may interfere with the public’s right to know. In ATPM, Woodward and Bernstein seem as though they hold straight to this ethics code. According to the Society of Professional Journalism, it is also said under this code of ethics that journalists should “be vigilant and courageous about holding those with power accountable.” In the film, the Watergate stories that “Woodstein” are running involve people with major government roles, this all leading up to the President of the United States. Woodstein had to be courageous in posting these stories when taking account the outside pressures of dealing with the high government officials involved.

During the actual “Watergate investigation, the federal government tried to cover up their crimes and shut down the Washington Post to prevent them from pub-

Dalton notes that Woodward and Bernstein held themselves accountable, much unlike President Nixon who hid behind his patriotic throne. Cartoon created May 27, 1973 by the Washington Post’s “Herblock.”

lishing their investigative stories.”

This “courage” framed in the film, embodied by Woodstein, aided in solidifying a new self-image of a

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reporter as more than just a person who sits behind a desk and makes phone calls. The type of journalism in ATPM movie consisted mostly of “investigative journalism.” It is the investigative approach that caused a rush of journalists to want to practice this type of journalism.

“Up until this point the federal government and especially the president were considered taboo or off limits to journalists.” “It was after this scandal that politicians were opened to public scrutiny as never experienced before in American history.” The insertion of this journalism tactic, that is being more of an investigative journalist, into media strengthened the effect the actual historical event had on journalists in America, which was to illuminate journalists as being gallant and determined in finding truth. Journalists were more willing to delve in into the lives of politicians, and the career of a journalist became more desirable.

How do filmmakers represent journalism and journalism ethics?

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Be Accountable

BY ERIK DALTON

“A media organization will be judged on the accuracy and reliability of the journalism it produces.” The accuracy of the organization is based on a lot of the information that the journalists in the organization are reporting. Under this code of ethics, “journalists should admit mistakes and correct them promptly.” If Woodward and Bernstein were to mess up the story or get information wrong, they know they would be the ones to take the fall for the faulty information. This is seen towards the end of the movie when “Woodstein” are desperately checking and rechecking their sources to ensure that all the information and claims they are posting are accurate and reliable. In the movie there are no real wrongs committed by the reporters on this level. When Woodstein did get the information wrong, it was incidental and they were willing to take blame for the mistakes made.

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ETHICS

Crossing the ethical line

BY ERIK DALTON

Minimize Harm

BY ERIK DALTON

Journalists under this code of ethics are required to “treat sources as beings deserving of respect.” In the film, Woodward and Bernstein are shown to respect their sources, but only to an extent. In this scene Bernstein enters the home of a source, “the bookkeeper,” in a way that would be considered abrupt or intrusive. Bernstein nudges his way into the home and offers himself up a cigarette. Bernstein’s intrusive manner of entering got him the information he wanted, but was it ethical to basically let himself into someone’s home and interview them on the spot? Under this code of ethics journalists are also told to treat “colleagues” with respect. In the movie Woodward and Bernstein are shown talking to another reporter of the Washington Post, Kay Eddy. They start to try to convince this reporter to try and retrieve the list of names of people

who work on the Committee to Reelect the President (“CREEP”) from her ex-fiancé. After seeing that Kay Eddy is uncomfortable, Woodward backs off saying, “forget it, we don’t want you to do anything that would embarrass you, that you don’t feel right about, forget it.”

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This scene actually didn’t happen in the book. In the book, Woodstein retrieved the list of names of people who work for the CREEP from a complete different character described as a “Washington Post researcher” (58). The insertion of this new scene into the film was probably to enhance the portrayal of Woodstein as upstanding reporters who follow guidelines,and only step across in order to let the truth be heard.

Overall, it seems that the movie shows some faults of the journalists, in that the Woodward and Bernstein were sometimes too pushy and their ways of gathering information may have been “surreptitious” (Ethics Committee), but they are framed more as being better at following the Journalism Code of Ethics than they actually were in real life. According to the book which the movie is based on, “All the President’s Men”, Woodward and Bernstein pushed ethical boundaries in a more situations that were not shown in the movie, and were probably left out to frame the reporters more as ethical heroes. The book talks about a situation where Woodward memorized and then secretly took notes on “lists of trial and grand juries” by sneaking into the bathroom and writing down what he memorized from this list. Woodward was told beforehand by the Courthouse clerk, “you aren’t allowed to copy anything. You can’t take names.

No notes. I’ll be watching” (208) Woodward was warned that taking notes on this list was off-limits yet he still secretly took notes and memorized a list of names. This list of names was then taken a step further

and Woodward and Bernstein were going to speak to some of the names on the list of trial and grand juries. It is illegal for the member of the grand jury to speak about the case, and yet Woodward and Bernstein were going to try and get these people to speak to them. In the book it says, “Woodward himself wondered whether there was ever justification for a reporter to entice someone across the line of legality while standing safely on the right side himself ” (210).

Woodward knew that what they were about to do would be wrong and getting the members of the jury to talk was against the law. They continued anyway and spoke to the members. One of the jury members that Woodstein interviewed called them in and “told the prosecutors he’d been visited by a Washington Post reporter.” Woodward and Bernstein almost went to jail for talking to all these people, but because no one actually gave any information on the trial, they were kept out of the slammer. This event just goes to show that the film frames Woodstein as high upstanding reporters when in actuality Woodstein pressed against not only boundaries of the SPJ code of ethics, but legal boundaries of the law.

How do filmmakers represent journalism and journalism ethics?

The Headliners

TRUTHINESS? TRUTH 40%

TRUTHINESS 60%

We felt that All The President’s Men did a highly respectable job accurately portraying the scenes that were included. For the most part, the scenes used identical language to how the moments were written in their book, All The President’s Men. When names or identities were altered, it was often because the original source did not want to be identified. We felt that the scenes with fictional characters (representing real characters) were done subtly and tastefully.

However, when we sat down to discuss the role of truthiness in the film, we found there to be just as much left out as was properly included. This gatekeeping played a significant role in the overall impression given off by the film. The film’s takeaway, especially those whose ground for understanding of the Watergate scandal comes primarily (if not solely) from this movie, might lead viewers to believe that Bernstein and Woodward played a greater role int he eventual resignation of President Richard Nixon than was actually the case. This is an example of agenda-setting - the movie’s creators effectively portrayed the two reporters as heroes who were primarily responsible for the president’s downfall when, in reality, much, much, much more was involved.

Time was obviously a big factor in the amount of original, genuine material that was able to pass through to the theater. Instances of reality bogged down by too much information weren’t included (gatekeeping). More importantly, however, the artistic liberties taken were a result of consumerism -- the director had to think in terms of what would sell tickets. Theatre is far from a philanthropic field. It is their job to make a movie appealing to paying customers. Dramatizing scenes and deleting boring ones is one way to do that.

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OPINION

The history is worth learning

BY THE HEADLINERS STAFF

The Headliners have spent a significant amount of time watching, researching and analyzing All The President’s Men. Their brains are fried. (Kristen’s friend)

For the most part, we enjoyed the film. It was a bit long and a bit dry, but it was based on a story interesting enough to maintain our interest (it could have something to do with being journalism students).

Someone who knows little about the Watergate burglary and the investigative discoveries to follow would leave this movie with an entirely different impression than someone with a general understanding.

Before we really started this project, we predicted that might be the case. We decided to watch this movie cold turkey for our first time.

We did no research. We did no asking around.

We simply watched and evaluated.

We loved Bernstein and Woodward a lot more before we did research. Don’t get us wrong, we still love them now, but we were a lot more impressed with them initially. What they did truly was admirable. Had we done research first, we would have been equally impressed.

However, the transition from thinking they did certain things to realizing there was a lot more involved was inevitably disappointing.

Regardless, we feel it is important to understand the history. Without doing so, the viewer risks being unknowingly misled to inaccurate conclusions.

Learn first. Watch later.

OPINION

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EXEC BOARD Thoughts and roles of our paper’s publishers

(out of five)

(out of five)

(out of five)

(out of five)

BY KRISTEN STEINER

BY TEDDY ROYER

BY ERIK DALTON

BY BETSY BLANCHARD

All the President’s Men was a movie I thoroughly enjoyed. This movie had a combination of mystery, unexpected suspense and good information. However, after doing extensive research on the Watergate scandal and the journalists themselves, I found the movie to be a little too misleading.

My responsibilities included writing the backgrounds on Watergate, Carl Bernstein, Bob Woodward and director Alan Pakula.

Beyond that I also attended the meetings, did extensive research on Watergate and the movie background, watched the movie many times and helped edit particular sections.

Kristen Steiner is currently a junior studying entrepreneurship and public relations. In her spare time, she enjoys playing the cello, teaching her adorable elementary orchestra classes, catching up on the latest fashion runways and sewing. Kristen will be leaving in July to serve as a sister missionary for The Church of Jesus Christ of Latter-day Saints in Knoxville Tennessee.

I am a product of the 2000’s. I love movies that keep me entertained with explosions and fast-paced action. However, if I set that aside, this was a decent film. There are a lot of names and situations that make it very difficult to follow the first time through...or second...or third. The actors did a great job with what they had to work with, but it just wasn’t catching to me. Historically it was fairly accurate, but seemed to portray Bernstein and Woodward more than what they were.

I watched the movie multiple times. I researched Charles Colson, Gordon Liddy, Betty Milland, Marcum, Jeb Magruder, Herbert Porter and Ken Clawson. I wrote the themes and framing section, working to combine our thoughts as a group.

Theodore “Teddy” Royer is an agriculture communications and journalism major. This is his third year. Teddy is currently running to become president of USU’s Country Swing Club. He would spend all day fishing if he could.

For a movie with the subtitle, “At times it looked like it might cost them their jobs, their reputations, and maybe even their lives,” wow this movie was kind of a letdown. The movie drags a little bit, and when you think it’s about to end, it doesn’t.

But, I understand that this is a historical movie, and if the director were to make it more thrilling then the historical accuracies in the film would probably plummet.

I attended all meetings and watched the movie with the group and by myself multiple times. I researched Bob Haldeman, Kay Eddy, Alex Shipley, and Bernard L. Barker. I wrote the ethics pages and analyzed whether reporters Woodward and Bernstein followed these journalism rules. I helped make the crossword puzzle.

I did research on Watergate, and helped cite sources for the pictures in the project.

Erik Dalton is freshman studying journalism hoping to one day be a news anchor.

He enjoys going on long runs, eating cereal, and freestyle rapping to the instrumental hip hop beats rap station on Pandora.

I was impressed with the amount of detail they were able to include in a two-hour film without putting me to sleep (too many times, that is). Though reading the book made me wish they’d done a few things differently, I remain pleased with what they were able to incorporate. As someone who previously knew nothing about Watergate but that it involved Nixon, I’m proud to say I want to keep reading up on the subject. There’s so much more I want to know from so many angles.

I handled the sections on similarities and differences. I couldn’t have done a decent job at it without reading the book, so I’m glad I took the time to do that! I also took charge of designing and managing this layout, helped come up with terms for the crossword and wrote the “truth vs. truthiness” section.

Betsy is a junior studying public relations with minors in multimedia and graphic design. She’ll lose her alliteration-friendly last name on June 1 when she marries her hunky lover boy, Max.

The Headliners

FEATURES BEHIND THE

SCENES Director Alan J Pakula Born: April 7, 1928 Died: November 19, 1998 Education: Yale University

BY KRISTEN STEINER

While looking to Alan Pakula as a director, it came as a surprise that Pakula did not produce All the President’s Men in a more thrilling way. While researching his past films and biographies, Pakula seems to be a director that likes to bring in a large aspect of psychological, suspenseful thrillers. All of the President’s Men did house these themes, however, not to the extreme of some of his other great films. With that also being said, Pakula did do a phenomenal job on All of the President’s Men. It was one of his most popular movies and it won several awards and grossed $70 million.

Still of Robert Redford with director Alan J. Pakula in All the President’s Men (photo credit: imdb.com)

DID YOU

KNOW Katharine Graham, publisher of the Washington Post: “In the end, we didn’t allow filming in the newsroom. ... Instead, an exact duplicate of The Post’s newsroom, including the stickers on Ben’s secretary’s desk, was created in Hollywood (for a mere $450,000 it was reported), and in the interests of authenticity, several tons of assorted papers and trash from the desks throughout our newsroom were shipped to California for props. We did cooperate to the extent of allowing the filmmakers to shoot the entrance to the newspaper building, elevators and certain production facilities, as well as a scene in the parking lot.”

FEATURES

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T A O R H T P E E D I

n May 2005, years after the Watergate scandal erupted, Mark Felt, former associate director of the FBI, revealed himself to Vanity Fair as the confidant of Washington Post reporter Bob Woodward affectionately known as Deep Throat.

Felt was 91 years old at the time. At long last, after years and year of speculation (even among members of his own family), Deep Throat’s identity was revealed.

Woodward first met Felt in 1970 while acting as “a courier, taking documents to the White House” for the U.S. Navy.

The rest is history.

Read Woodward’s 2005 account of their fateful meeting here.

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NIXON RESIGNS

Click image to be redirected to the video.

“I have concluded that because of the Watergate matter, I might not have the support of congress that I would consider necessary to back the very difficult decisions and carry out the duties of this office in the way the interests of the nation will require.�

FEATURES

FEATURES

The Headliners

crossword

BY ERIK DALTON & BETSY BLANCHARD

ACROSS 1. Woodward and Bernstein went knocking on a list of peoples doors who worked for ______________ 4. Nickname given to Woodward and Bernstein by a Washington Post editor 6. The nickname for the group of men sent out to fix “leaks” 9. ___________Ford Succeeded Nixon as the new president of the United States 10. The person who Sloan denied he mentioned before the grand jury, putting the reporters in a bind 12. Group member who is a self-proclaimed nut-job 13. had one-on-one conversations with a mysterious source called Deep Throat in a dark parking garage 14. Group member who has always been the loving mother of the group 19. _______ letter written by Kenneth Clawson, deputy director of White House communications

*Disclaimer: all factoids were taken from sources already used in other sections of this paper.

DOWN 2. Meant to double-cross and, when used by the Nixon forces, referred to infiltration of the democrats.

3. In the movie Deep Throat initially told Woodward to follow the___________ 5. Group member who is an extremely conservative ginger and likes lots of action in his movies 7. The executive editor of The Washington Post from 1965 to 1991 known for yelling across the newsroom 8. Hired to sabotage the democratic campaign and hire other attorneys to aid in doing so- also has a wonderful set of shark like teeth 11. Deep Throat's real identity revealed in 2005 15. A habit of Bernstein’s that annoyed Woodward 16. Group member who loves asiago bagels with strawberry cream cheese and sprinkled cinnamon 17. Investigator who showed Bernstein checks with Kenneth H. Dahlberg’s name on them 18. Ethnicity of four of the Watergate burglars

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