I don’t think “Thirteen Days” is about the fate of the free world so much as it’s about a particular moment when show business—acting, scripting, presentation, and something like choreography—began to move from the periphery of public life to its center. In fact, more than any other film I’ve seen recently (with the possible exception of Gladiator), Thirteen Days seemed to me to be about theater in the way that the plays of Shakespeare or David Mamet sometimes are. Continue reading

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