Dropping the Big One

By Melissa Leuzzi

[1] This scene takes place on the Presidential yacht as Nixon dines with Henry Kissinger, John Mitchell, John Ehrlichman, and H.R. Haldeman. The dinner meeting takes place after the Kent State massacre, in which four students were shot down by the military. As the scene begins, Nixon laments, “Dead kids. How the hell did we give the Democrats a weapon like this?” Nixon’s initial commentary is reminiscent of the popular image the public holds of Nixon. Because Nixon treats the students’ death as an inconvenience at the outset, he appears crass, unfeeling, and calculating. Selfishly, Nixon only considers how the event will affect his political career and public image. As he considers the deaths a weapon in the hands of the Democrats, it is almost as if Nixon feels the event is only tragic because of the political fallout it may cause.

[2] During the conversation, Nixon refers to the state of the union at the time as “anarchy, revolution.” Later, John Ehrlichman asks, “Is the war worth a one-term Presidency?” The political calculation dominates the rest of the conversation as the other diners weigh in. Nixon insists, “I can do this because I spent my whole career building anti-Communist credentials,” in reference to recognizing Communist China. The conversation escalates, and Nixon grows irate as he exclaims, “Without risk there is no heroism, no history. Nixon was born to do this -- give history a nudge.” At several points throughout the film Nixon refers to himself in the third person. Stone, in this way, attempts to portray Nixon as a two-dimensional figure. Nixon refers to himself in the third person as if he is referring to “Nixon” the politician as a separate entity. Nixon’s reference to “Nixon” seems to suggest that Nixon separates his actions as a politician from actions he views as his own. This mental delusion may be Stone’s attempt to explain Nixon’s illegal actions throughout his political career -- perhaps if “Nixon” committed such crimes, Nixon did not feel responsible. Nixon’s reference to himself in the third person also insinuates that Nixon views his presidency and career as destiny, a fate larger than himself. Whether Stone is trying to imply that Nixon feels inferior and ill-prepared to complete the task or that he is narcissistic is difficult to determine.

[3] Nixon also refers to “the big one,” suggesting that he would be willing to drop a nuclear weapon to end the Vietnam War. This is an interesting inclusion on Stone’s part, as it is a serious assumption to include. (Through research I was unable to find if Nixon ever actually revealed that he would use atomic bombs in Vietnam.) Operating under the assumption that Nixon never actually said anything about atomic weapons, Stone takes great advantage of his artistic license with this scene. In terms of historical accuracy, the atomic weapons conversation is crucial, since if it did not happen, it asserts something about Nixon as a President that may or may not be true.

[4] Nixon storms away after receiving his meal, as the steak is bleeding excessively. The image may serve as a symbol for several different concepts. The steak bleeding could foreshadow Nixon’s demise, illustrate the chaos of the country at the time, as if the nation is bleeding, represent the death and destruction of Vietnam, or represent the deaths at Kent State. The bleeding steak, whatever it may represent, is a crucial image in the yacht scene.

[5] When Nixon storms off, John Mitchell follows him to the rail of the ship. As the scenery changes, Nixon’s demeanor does as well. During dinner, it is as if Nixon is “Nixon” the figure, while in his conversation with Mitchell he is “himself.” Nixon admits, “They don’t think I feel, but I feel too much sometimes. Just can’t let a whole policy be dominated by our sentimentality.” This part of the scene directly contrasts the beginning of the yacht scene, as Nixon is harsh and unfeeling regarding the deaths of the students at Kent State. Nixon is portrayed as very compassionate, almost pitiful in his conversation with Mitchell. He says, “I think that’s when it starts. When you’re a kid. The laughs, the snubs, the slights you get because you’re poor, or Irish, or Jewish, or just ugly.” He compares the deaths of the students to his brother Harold’s death from tuberculosis. It is almost hard to believe that the Nixon in the first part of the scene and the Nixon talking to Mitchell are the same, only enforcing Stone’s thesis that there exists both a Nixon and a “Nixon.”

[6] At the end of the scene, Nixon reveals, “Sure. I’d like offer my condolences to those families. But Nixon can’t.” Again, Nixon refers to himself in the third person. He seems to believe that to give condolence would be a sign of weakness as a President. Perhaps his reluctance to show emotion in public, or to reach out to the public, is the reason that Nixon was so hated during his Presidency. Though he appeals directly to the American people in his infamous “Checkers” speech, he does little of the same as President.

[7] The yacht scene is vital to the characterization of Nixon that Stone clearly hopes to achieve with the film. Stone develops Nixon as a complex character that the audience constantly struggles to understand. Though Nixon was hated at the time, Stone’s filmic content leads the viewer to question why he was so hated. The moments in the film, like the conversation with Mitchell, present Nixon as a loving and compassionate man caught up in the game of politics. It almost seems to suggest that all of Nixon’s mistakes are uncharacteristic, while history certainly does not present Nixon in such light.