CHAOS: The Manson Murders Review: Errol Morris Clearly Explores a Complicated Conspiracy

      More than fifty years later, what new insights can we obtain regarding the events of August 9 and 10, 1969? The compelling (if intricate) book CHAOS: Charles Manson, the CIA, and the Secret History of the Sixties, authored by Tom O’Neill and Dan Piepenbring and released in June 2019, argues that although the evidence regarding the murders has been thoroughly examined, a complex network of conspiracies regarding their motivations exists, some of which are more credible than others. To summarize the 528-page book's primary theory, it suggests that Manson might have been permitted (and possibly even guided) by the CIA to instigate a reign of terror aligned with secret government initiatives designed to suppress leftist movements advocating for progress in the nation. Condensing the book's essential elements into an easily digestible 96-minute Netflix documentary, Errol Morris’ CHAOS: The Manson Murders serves as an engaging, albeit brief, adaptation of various theories that may never be substantiated with concrete evidence.

      Instead of opting for a mini-series format that O’Neill’s book might warrant at first glance, Morris recognizes that adapting non-fiction usually involves a process of cutting down. The director wisely omits much of the preliminary setup—chiefly O’Neill’s extensive narration of the two decades spent on the project and the particulars of his investigative hurdles and frustrations. This brevity leads to a brisk exploration of Manson’s rise and the atrocities committed by him and his followers, interweaving theories from O’Neill and others as they fit within the timeline. Displaying materials in a way that books cannot, Morris incorporates archival footage of Manson's prison interviews, recordings of cult members during trials and interviews years later, Manson's own music from his fleeting quest for fame, and new interviews with figures referenced in the book. The rapid influx of varied materials outlining an ever-expanding array of subjects makes for an engaging viewing experience that is cohesively presented by Morris, even as one might question the necessity of re-examining the events of those murder nights yet again (complete with accompanying sound effects).

      For those already acquainted with the story, the most intriguing sections center on O’Neill’s new theories. Instead of delving too deeply into any specific narrative thread, Morris presents the fundamental ideas in an accessible manner, allowing a wider audience to explore further if they choose. He effectively challenges numerous questionable points that were broadly accepted as fact in prosecutor Vincent Bugliosi’s 1974 book Helter Skelter. For instance, why was Manson, who was on probation for years prior to the murders, never apprehended for several offenses? Were Manson and his followers involved in LSD mind-control experiments at the Haight-Ashbury Free Medical Clinic orchestrated by CIA agents? Did Manson choose the location on Cielo Drive because he mistakenly believed that record producer Terry Melcher, who rejected him, still resided there? Was Manson so fearful of his followers betraying him that he sent them to commit "bad crimes" purposely to get caught? Is there a more profound explanation for the police's months-long delay in implicating the Manson family? Although definitive evidence is absent in both the book and the film, both make a convincing case that these are not just fringe theories and that there is more to the narrative than initially reported.

      As Project MKUltra and LSD mind control are highlighted in some of the documentary's most engaging segments, we briefly see a nod to Morris’ prior series Wormwood, underscoring his suitability for this project. However, despite Morris' familiarity with the true-crime documentary style, his personality seems somewhat obscured in CHAOS, giving the impression of a documentary designed for straightforward consumption, echoing some of the tropes analyzed in Charlie Shackleton’s recent Zodiac Killer Project. For instance, with an already overwhelming amount of material presented, the inclusion of a puppet Manson feels somewhat excessive. Sections where Morris conveys a sense of surveillance from various angles perform better, using an occasional split-screen to display multiple viewpoints during the same interview.

      In a time when QAnon and other conspiracy theories serve as fodder for the worst aspects of humanity, there is a valid concern that CHAOS may simply reflect the delusions of a madman hoping to gain traction with his government-related conspiracies. However, O’Neill’s extensive investigation into events that occurred half a century ago demonstrates the effort required to assemble even a semblance of an argument, countering not just Manson-related history generally accepted as fact, but also those hastily drafting conspiratorial posts on social media. By allowing Manson to have the final word, O’Neill has skillfully distilled the intricate threads of his expansive theories into one cohesive and approachable presentation.

      CHAOS: The Manson Murders premieres on Netflix on Friday, March 7.