Errol Morris’ new Netflix documentary, CHAOS: The Manson Murders, dives into one of the most infamous chapters of American history, exploring the mysterious and often contradictory elements of the Charles Manson case. For those familiar with the Manson saga, which has been dissected through countless books, documentaries, and interviews, there’s always the hope that a new perspective will shed light on its darkest corners. As a longtime observer of the Manson story, I watched CHAOS with a blend of skepticism and curiosity, expecting that acclaimed filmmaker Morris might offer something fresh. However, the documentary, while stylish and compelling, leaves viewers with more questions than answers.
The film opens with a visual style that blends archival footage and psychedelic aesthetics, characteristic of contemporary documentary filmmaking. Morris introduces previously unseen photographs of the Manson crime scenes, capturing eerie moments before violence erupted—rooms now stained with blood but presented with a strangely artistic touch. The imagery, from time-lapse shots of mescaline cactus flowers to close-ups of maggots feasting on Gary Hinman’s body, offers a visceral experience, but these elements often feel more like window dressing than substantive revelations. The true focus, however, is the conspiracy theory presented by journalist Tom O’Neill, who argues that the Manson killings may have deeper, hidden connections to the CIA’s mind control experiments in the 1960s.
O’Neill, whose book CHAOS: Charles Manson, the CIA, and the Secret History of the Sixties serves as the foundation of the film, posits that Manson’s ability to manipulate his followers into committing such heinous crimes may have been influenced by MKUltra, a covert CIA program designed to explore mind control through drugs like LSD. The theory is tantalizing—could the CIA have played a role in Manson’s rise? Did Manson learn mind-control techniques from the Agency itself? While Morris explores these ideas, he never provides concrete evidence to back O’Neill’s hunches.
O’Neill’s theory hinges on the idea that Manson’s arrival in San Francisco in the late 1960s, just as the CIA was running operations out of the Haight-Ashbury Free Medical Clinic, might not have been coincidental. At the time, Louis “Jolly” West, a psychiatrist deeply involved with MKUltra, was conducting LSD experiments at the clinic. While O’Neill acknowledges the lack of direct evidence connecting Manson to West, he suggests that Manson may have absorbed mind control tactics from the Agency. However, this theory remains speculative, with O’Neill relying more on intuition than hard proof.
Morris expands the documentary with a number of tangents, including an exploration of Manson’s brief flirtation with the music industry. Through his connection with Beach Boys drummer Dennis Wilson, Manson recorded a song, “Cease to Exist,” that found its way onto the band’s 1969 album 20/20. Despite Manson’s talents, his music career was ultimately stifled when music producer Terry Melcher rejected him. The frustration of these rejections, particularly Melcher’s refusal to offer Manson a contract, is presented as a key motivator behind the murders, which began at what Manson believed to be Melcher’s home.
Despite these explorations, CHAOS remains largely a retread of familiar territory, often drifting into speculative tangents that blur the line between history and conspiracy. The documentary touches on a variety of theories—ranging from Manson’s paranoia about being betrayed by his followers to accusations that prosecutor Vincent Bugliosi’s case against Manson was a mere fabrication to sell books. While these theories are provocative, they don’t offer new revelations or resolve the many ambiguities surrounding the case.
Ultimately, CHAOS delivers a film that is as much about questions as it is about answers. It leaves viewers to ponder whether the Manson murders were part of a larger, more sinister plot orchestrated by powerful forces or simply the result of a deranged cult leader exploiting vulnerable minds. While Morris’ documentary brings an artistic flair and fresh speculation to a well-trodden story, it does little to definitively answer the lingering questions about one of the most notorious cults in modern history.
For those seeking closure or clarity, CHAOS may disappoint. But for those drawn to the dark allure of the Manson story, it provides an unsettling reminder that some mysteries are better left unsolved.
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