Spielberg movie linked to capitol shootings
DATELINE–Washington, DC
Federal law-enforcement officers are investigating reports that a man matching the description of the Capitol shooter was seen at a showing of “Saving Private Ryan” on the evening before Friday’s shootings.
FBI and Secret Service investigators have been working to reconstruct the movements of Russell E. Weston Jr. prior to his mid-morning attack on the Capitol last Friday. After two employees at the AMC Union Station theater identified Weston from a driver’s license photograph, officials now believe that Weston could have attended a special showing of the movie “Saving Private Ryan” screened for D.C.-area veterans late Thursday evening. The AMC theater is located only a few blocks north of the Capitol building.
“There were a lot of people who looked like [Weston] at that show, a lot of Vietnam-types,” recalls Tyrell Willets, one of the AMC employees who have reportedly placed the Capitol gunman at the Thursday night screening. According to a July 28th New York Times article, other witnesses reported seeing Weston carrying what appeared to be a small army ammunition satchel. In an encounter early Friday morning across the street from the White House, John Broder, a Washington correspondent from the New York Times, was warned by Weston that “the storm clouds of war were gathering over Washington.”
Given the evidence suggesting Weston’s militaristic affect, FBI forensic psychologist Stan Sobchak believes there may be a causal relationship between the violent shootout at the Capitol that caused the deaths of two Capitol police officers and the realistic violence depicted in the WWII movie “Saving Private Ryan.” There has already been much speculation as to what could have sparked Weston’s shooting spree after years of nonviolent mental illness. According to Sobchak, the possibility that a movie sequence may have triggered Friday’s deadly confrontation is not as far-fetched as it might seem.
“The purpose of this movie’s battle scenes is to transfer the experience of savage combat to the viewer. It’s a kind of realism that disarms the moral faculties and can quite easily lead to a psychotic episode. Frankly, I’d be surprised if there aren’t more such killings before the movie leaves the theater.” Sobchak, who heads a special FBI task force on mental illness and high-profile violent crimes, has worked on similarly infamous cases like John Hinckley’s presidential assassination attempt.
While investigators were quick to qualify Sobchak’s evaluation, elsewhere in the United States several VA hospitals were busy setting up telephone hotlines to offer counseling to veterans who had seen “Saving Private Ryan” during the film’s opening weekend. In an interview with the Associated Press, Deborah Richter, a therapist who runs the Portland Vet Center, stated that she believes the movie’s aesthetic treatment of “the pain, the suffering and the actual killings” of military combat is “the ultimate trigger for post-traumatic experiences.”
The Portland VA Center fielded dozens of calls this weekend from traumatized viewers of “Saving Private Ryan” at a temporary toll-free number. Other institutions are planning to provide similar services during the coming months.
The news that “Saving Private Ryan” is being scrutinized as an extenuating circumstance in Weston’s rampage has left the movie’s maker, Dreamworks SKG, with a potential public relations disaster on its hands. So far, only veterans have reported experiencing shock and disorienting grief after witnessing the grisly re-enactment of the D-Day invasion that begins “Saving Private Ryan.” But in light of the ongoing investigations that link the state-of-the-art WWII film to the Capitol shooting, other audience members may be expected to suffer similar adverse reactions.
At the heart of the debate is the film’s opening sequence which depicts with tremendous panache and great technical mastery the first-hand experience of American soldiers landing on the beaches of Normandy during the D-Day Invasion on June 6, 1944. During the scenes of horror which comprise the movie’s first 30 minutes, body parts are thrown into the air, the camera is spattered with blood, and a special lens captures the movement of bullets before they audibly pierce the bodies of hundreds of men. But unlike previous cinematic depictions, the unprecedented realism of the violence in “Saving Private Ryan” is being lauded by the media as a breakthrough in filmmaking.
But what makes the film so innovative in the business of make-believe may also turn out to be its Achilles heel. There is already speculation that the bloody blurring between film and fact in “Saving Private Ryan” may be the centerpiece of Weston’s defense should he be found competent to stand trial. Elaine Riefendahl, a defense attorney based in Cambridge, Mass., believes there is a good chance that the film could be presented to the jury as a way diminish the penalty against Weston during sentencing.
“Given the power of this movie’s fantasy, the defense can argue that even a person without a history of mental illness like Weston’s will leave the theater confused as to whether or not they have just participated in the violence depicted on screen. This is not about copycat murders, it’s about viewers being tricked into believing they are actually a part of the movie.”
Sobchak agrees, warning “In the case of Weston, his schizophrenia flattened the world until there was no distance between himself and stories about the president, the FBI, etc. ‘Private Ryan,’ because it puts people into the action instead of in front of it, has the same effect. There is no room for thought there, only feeling. Bad feelings.”
