{"id":322375,"date":"2025-12-03T09:04:09","date_gmt":"2025-12-03T09:04:09","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/322375\/"},"modified":"2025-12-03T09:04:09","modified_gmt":"2025-12-03T09:04:09","slug":"cover-up-review-atrocity-exposer-seymour-hersh-journalist-legend-gets-a-moment-in-the-spotlight-documentary-films","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/322375\/","title":{"rendered":"Cover-Up review \u2013 atrocity exposer Seymour Hersh, journalist legend, gets a moment in the spotlight | Documentary films"},"content":{"rendered":"<p class=\"dcr-130mj7b\">Renowned investigative journalist Seymour Hersh was never played in a film by Robert Redford or Dustin Hoffman, like the Washington Post\u2019s Bob Woodward and Carl Bernstein. But as this documentary portrait argues, he\u2019s probably more important than either. Hersh has a longer record of breaking big stories, from the My Lai massacre in Vietnam to torture by US army personnel at Abu Ghraib prison in <a href=\"https:\/\/www.theguardian.com\/world\/iraq\" data-link-name=\"in body link\" data-component=\"auto-linked-tag\" rel=\"nofollow noopener\" target=\"_blank\">Iraq<\/a> \u2013 the latter a historic scoop underscored by the stomach-turning photos which Hersh brought to light. Hersh is asked if Abu Ghraib would have been the story it was without those pictures and replies: \u201cNo pictures, no story.\u201d Well, maybe. But his other scoops had no pictures of this kind. One incidental thing Abu Ghraib showed was how ubiquitous digital photography became at the beginning of the century; how easy it was to take and share photos. Now, in the new era of AI, photos are ceasing to be the smoking gun of truth.<\/p>\n<p class=\"dcr-130mj7b\">The title of this movie speaks for itself. Hersh is always on the hunt for things that powerful people would prefer to stay hidden \u2013 although a paradox of the film is that Hersh has to protect his sources, cover them up as it were. Secrecy plays a part in his own professional life, and when it appears as if film-makers <a href=\"https:\/\/www.theguardian.com\/film\/laura-poitras\" data-link-name=\"in body link\" data-component=\"auto-linked-tag\" rel=\"nofollow noopener\" target=\"_blank\">Laura Poitras<\/a> and Mark Obenhaus have sensitive names in the notes that he has turned over to them, Hersh becomes agitated and appears ready to back out of the documentary entirely.<\/p>\n<\/p>\n<p class=\"dcr-130mj7b\">From My Lai onwards, the authorities\u2019 MO and Hersh\u2019s MO are pretty plain. The government will deny and stonewall, until faced with something flagrant and undeniable, when it will claim that it\u2019s a one-off and a bad apple. But Hersh tends to see that these aren\u2019t single, shocking events; it\u2019s just the only time you\u2019ve become aware of one. With an old-fashioned reporter\u2019s dogged \u201cshoe leather\u201d instincts, Hersh goes to see the people involved, talks to them, spends time on a story, and doesn\u2019t take no for an answer.<\/p>\n<p class=\"dcr-130mj7b\">Hersh emerges as a tough, combative, peppery personality from this movie. We only get a taste of the volcanic temper he can deploy when he needs to tongue-lash some cringing editor into giving him the resources he needs. It\u2019s how you have to be. Hersh is pretty candid about his chagrin at missing out on the Watergate story (though he made some of the running later on), and almost being duped by fake letters between John F Kennedy and Marilyn Monroe. He is also very derisive about those centrist pushovers in mainstream journalism who just print the press release and become complicit in abuse \u2013 although his attempts to investigate the corporate behemoth Gulf + Western were hampered by the realisation that his corporate employers at the <a href=\"https:\/\/www.theguardian.com\/media\/new-york-times\" data-link-name=\"in body link\" data-component=\"auto-linked-tag\" rel=\"nofollow noopener\" target=\"_blank\">New York Times<\/a> were themselves not above criticism. Hersh is a true freelancer who is happy enough writing on Substack: an independent and a nonconformist.<\/p>\n<p class=\"dcr-130mj7b\"> Cover-Up is in UK and Irish cinemas from 5 December, and on Netflix from 26 December.<\/p>\n","protected":false},"excerpt":{"rendered":"Renowned investigative journalist Seymour Hersh was never played in a film by Robert Redford or Dustin Hoffman, like&hellip;\n","protected":false},"author":2,"featured_media":322376,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[49,48,75,337],"class_list":{"0":"post-322375","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-movies","8":"tag-ca","9":"tag-canada","10":"tag-entertainment","11":"tag-movies"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/322375","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/comments?post=322375"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/322375\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media\/322376"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media?parent=322375"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/categories?post=322375"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/tags?post=322375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}