Mixing Super 8 home movies by three of Richard Nixon's White House aides (Chief of Staff H.R. "Bob" Haldeman, Chief Domestic Advisor John Ehrlichman and Special Assistant to the President Dwight Chapin) that were confiscated by the FBI upon the Watergate investigation and other archival elements (including 16mm film of White House documented events, tons of incredible recorded phone conversations, televised interviews etc.), this film tracks the confusing Nixon reign, humanizing the characters that led to such a disgraceful downfall, exploring the mindsets of those who loved and worked for their fearless leader.
Our Nixon is a documentary portrait compiled of media, private and public, where the lines of actions & words and images & sounds intersect to form an understanding of the beginning of what it means to exist in an increasingly technological society. The phone conversations of Nixon after his televised addresses where he critiques his performance next to the very personal home movies of his aides shows the development of a media identified self, the first glimpse at a self awareness and consciousness that has become a silent part of our everyday lives (thanks social networking!). Watching this group of powerful people reveling in experiences, with an often blurred understanding of reality and filmed reality was a stark realization as to the power, dubiousness, and meaning that the changing media landscape brought about, and still brings about. As the film shows, the Nixon presidency began with walking on the moon but ended in wire tapped burglary, the polar opposites of technology's abilities, the polar opposites of man's abilities and perfect symbols of such an enigmatic era. O, and then there was the breathtaking filmmaking!
This was a rough cut of the film so things like the music and final film scans weren't complete, coarse elements that seemed to bug a few of the audience members but that didn't even effect me as I remained engrossed in the overall stylistic connectivity of the piece. A mix of perfect old cheesy Nixon/America anthems with some MC5, Carpenter's 60s/70s nostalgic flare, edits with just enough film leader to add texture and pause, even the intertitles were all supremely cool and vibrant combining seamlessly to make the entire film stylized to a particular aesthetic and not make it feel as disconnected as it could easily have been given the many sources it drew from.
