“The Manson Murders”: All I knew is the suspect

Most likely, you know the outlines of the situation: Charles Manson, the failed and wild-eyed musician, has ordered his family-the drug addicted to drugs, with whom he lived on a farm full of old movie groups-to carry out a series of heinous murders in the evening from August 8 and 9. Her husband, director Roman Polanski, was outside the city at the time.

The story includes all kinds of strange, well -documented bits, from accidents and coincidences (that there were that night, which were not) to Manson’s links to Dennis Wilson from the children of the beach and his worship of the Pitles to the strange behavior that he and Acolytes showed during the reasonable trial. In his book, O’Neil deepens in his book, deeper, and raising the specter of different conspiracy theories about potential secret government operations that appear, with a time space and some requests for the Freedom of Information Law in a good position, at least the possibility of linking the case.

O’Neill, a concrete correspondent who followed the story for decades, realizes in the book that it seems a bit disorganized – but this is because he systematically insists, the whole thing is a kind of disorganized. There is no strict evidence, but the distinguished possibility that Manson is across the tracks, and perhaps more, with secret operations in the United States that intersect frightened with a kind of control over the mind that enables her to enact his followers. For example, the CIA, through initiatives such as Project MK-Ultra and Operation Chaos, for example, on citizens and experience initiatives aimed at controlling minds and creating them, and Maurice also puts it in cinematic phrases, the Manacheri candidate. Likewise, the CointelPro projects at the FBI to disrupt groups that are seen as sabotage, such as the anti -war movement, civil rights movement, communist and socialist organizations, and the women’s movement, especially the black leopards, whose Manson family tried to burden the murders. These secret operations on citizens are a familiar area of ​​Morris, including his six -part series “Wormwood”, which is inserting a small clip in “Chaos”, with a little interpretation. It is a way to remind his most dedicated viewers, as this is not his first tour on this topic.

“CHAOS: The Manson Murders” displays O’Neill, who says the same on the screen – see, I don’t say that an act It happens in this way, we cannot say that Not – But it brings other voices, too. The most prominent of which is Bobby Busoulil, the young musician who interrupted the Manson Road in an unfortunate and dark way, and who insists that Manson’s motives for killing were more than pedestrians more than people like O’Neill made it. There are also Manson’s archival footage himself, during the trial and in several later interviews, and several followers after decades of their convictions.

However, the most important voice in the movie is Morris’s, both stylistic and craftsmanship – in a typical style, we see and listen to in the O’Neill (on the camera) and beausoleil (on the phone). There are remains for the real crime style in Netflix now mentioned in “Chaos”, the most prominent of which is a little annoying introduction to what will happen in this documentary, a type of mini -teenager for itself, which begins the film, and perhaps the most obvious indicator that the broadcast has changed the way we not only saw but the film structure. But Morris has influence that goes beyond most documentary directors, and this is often his film: curious, skeptical, depends on the interviews conducted by the director. It is obsessed with this only question: Why do we continue to return to this story?