delve into the intriguing theory of brainwashing, secret CIA research, and homicides that unfold in Netflix’s latest documentary, CHAOS: The Manson Murders.
As a gamer delving into virtual reality, the teaser for the Errol Morris-led production feels strikingly similar – brimming with fast-paced edits and unsettling glimpses of Charles Manson. The movie seems to be inspired by Tom O’Neill and Dan Piepenbring’s 2019 book, “CHAOS: Charles Manson, the CIA, and the Secret History of the Sixties”.
This recipe might be one of Morris’ most popular yet, given that Netflix tends to guide viewers towards stories about notorious serial killers particularly effectively due to their sensational nature.
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This recipe could potentially be the most widely viewed in Morris’ career, considering how Netflix often directs its audience towards captivating accounts of mass murderers, which seem to attract viewers effectively.
I’m eager to observe the reactions to CHAOS. It’s intriguing to consider if some spectators might perceive the documentary as promoting a “conspiracy theory about mind control, CIA experiments, and murder,” which it absolutely doesn’t. On the other hand, there may be viewers who feel disappointed because the documentary does not provide evidence to support such a conspiracy theory, as it has no intention of doing so.
Morris, with his practical and analytical approach to filmmaking, is unlikely to produce the documentary that CHAOS and Netflix envision. Instead, CHAOS delves into our compulsion or necessity to construct stories around the fearful and unknown, how these narratives are accepted as truth, and the difficulties in revising these deeply ingrained narratives once they’ve taken root.
This work seems to be a deep analysis, disguised as a spooky mystery thriller, but it’s delivered hurriedly. It appears to be a genre that its viewers might find intriguing for much longer if it were actually a full-fledged ghoulish conspiracy thriller.
The core of the documentary revolves around discussions with O’Neill, who skillfully establishes connections between Charles Manson, a former convict turning cult leader in San Francisco during the late 1960s, and Louis “Jolly” West, a psychiatrist associated with the CIA’s MKUltra program through the Haight-Ashbury Free Clinic. O’Neill is instrumental in linking Manson to the clinic, as well as connecting West to the same institution. Furthermore, he sheds light on how the objectives of the MKUltra project may have influenced Manson’s success in manipulating and controlling his followers’ minds.
What he fails to establish is a direct link between Manson, West, or Manson and MKUltra, the CIA’s Operation CHAOS, or the FBI’s COINTELPRO – two simultaneous programs where the American intelligence community investigated and occasionally disrupted domestic groups.
In a similar vein, O’Neill is the type of dedicated and obsessive individual that Morris, known for his extensive work documenting such characters, would find intriguing (and this connection might stem from their shared involvement in the MKUltra project, as highlighted in Netflix’s “Wormwood”). However, instead of taking a stance to either bolster O’Neill’s argument or discredit it, Morris, being an experienced researcher, could have chosen to do so. Yet, he opts to listen attentively, as his natural curiosity prevails over any preconceived beliefs, even if he remains unconvinced by the information presented.
In the documentary, instead of communicating with O’Neill mainly through the Interrotron, a device created by Morris that enables subjects to speak to both him and the audience at once, significant portions of their conversations are shot with both men in front of the camera. This setup allows us to discern who O’Neill’s narratives are primarily intended for, as the focus remains on Morris rather than O’Neill during these exchanges. Essentially, this performance is for an engaged listener, a director who purposefully avoids granting O’Neill’s account of events complete visual dominance.
O’Neill probably believes what he’s selling. Morris doesn’t not-believe.
Morris is out shopping, but he’s not entirely convinced about the common storyline regarding the Manson Murders, which has been mainly shaped by prosecutor Vincent Bugliosi’s book “Helter Skelter“. In this widely read book, used as a basis for several television adaptations, the Tate-LaBianca murders are portrayed as the tragic culmination of the counterculture movement, serving as a cautionary tale about the dangers of a decade marked by relaxed attitudes towards sex, drugs, racial progressivism, and rock ‘n’ roll.
Morris skillfully elucidates the reasons behind the story’s convenience for Bugliosi, its self-serving nature, and why it’s found captivating, as well as the agendas it has been employed to further. However, being mindful of narratives commonly accepted in a single culture, Morris constructs this documentary encompassing at least four diverse perspectives on the events.
There’s a theory about O’Neill that, while not fully comprehensible, offers insights into the larger mysteries surrounding how Manson managed to manipulate his followers into committing their actions. If you find it convincing, it can be useful.
From my perspective as an enthusiast, there’s the Bugliosi account of the incidents, substantiated extensively here by prosecutor Stephen Kay, who has been recounting these stories in courtrooms, books, and media since 1970. There are fresh audio interviews with Bobby Beausoleil, initially detained for a different Manson-related crime. Beausoleil, visibly tired of the myth-making surrounding his former companion, offers his unique interpretation of events that he describes as “mundane,” starkly contrasting O’Neill’s wild theories.
During this point, Morris outlines the fundamental details of the case, presenting the narrative of the murders using court records and subsequent conversations with Manson and his associates.
In simpler terms, Morris and the series CHAOS struggle to maintain interest in the case, making it less compelling and direct. I’m not a die-hard Manson follower, but I have read Bugliosi’s book and watched several podcasts and documentaries about this subject. This is one of the first presentations that I’ve found dull. Morris seems to be trying to avoid sensationalizing the murders, which is commendable, and it’s likely he’s right in assuming not every viewer will have extensive knowledge of a 55-year-old crime. However, there’s about 45 minutes in the documentary that feels repetitive and uninteresting.
The documentary presents an intentionally straightforward portrayal, devoid of the typical allure of celebrity and sensationalism, avoiding the usual fascination with victimization, brutality, and our tendency to fit events like the Manson Murders into neat, socially acceptable narratives or themes for easy understanding.
If Morris isn’t just a passive observer in the documentary, he becomes a representative figure for the audience’s curiosity instead. He sometimes displays an unsettling or explicit behavior, such as his morbid comment about the sound of maggots eating Gary Hinman’s body. Kay doesn’t seem to respond to this at all. He also shows a suggestive side when asking Gregg Jakobson to describe the scene at Dennis Wilson’s cabin, filled with Manson groupies and music industry people. Furthermore, he can express disbelief, attempting to get more specific details from O’Neill that he knows the author doesn’t have access to.
Beausoleil acknowledges that people tend to hold a strong affinity towards their imagined realities, understanding well that his personal perspective on the situation may not be as captivating as others’.
Morris doesn’t claim exclusive ownership over the concept of “fantasy” in CHAOS, and he doesn’t guide viewers towards any specific interpretation. Therefore, it’s important to approach with caution anyone who watches this film and claims that it’s a documentary about Charles Manson’s links to MKUltra or the “mind control conspiracy,” CIA experiments, or murder.
If you interpret anything from the documentary titled “CHAOS” as an answer, then you likely overlooked its main message: the significance of narratives in making sense of the seemingly inexplicable. If your takeaway is that Morris fell short, it might suggest he was successful in challenging our perceptions – a concept I find intriguing, even if not always effectively conveyed in this particular work.
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2025-03-07 07:25