El Curioso Caso de William Morgan

I ask you, folks, wouldn’t this make a great movie:

Late 1950s, Toledo, Ohio, USA.

The Hero, rugged, blue-eyed, blonde-haired, is a searcher, misunderstood by family and friends. He is a freewheeling, Kerouacian type who in his twenties never kept a job or stayed in one place for long. He did a stint in the US Army: stationed in Japan, he went AWOL, got himself time in the brig and a dishonorable discharge. The Hero tried working on a ranch, scratch. Joined the circus. Nope, not a fit. Everywhere the Hero goes, he confronts the questions: Why am I here? What do I do? Now 30-ish, he needs a purpose in life.

One day the Hero learns that another American, a close friend from his Army days, has been murdered by goons of the corrupt dictator of an island nation. The Hero heads down to the Island and joins the rebels to fight against the dictator that killed his buddy. For perhaps the first time in his life, the Hero finds someplace where he is needed, and where he can make a difference. He’s had freedom all his life and has not known what to do with it; he finally finds his purpose: helping others fight for their freedom. The Hero’s military training proves invaluable to the rebels, among whom he eventually rises to the rank of Comandante, the highest rank in the rebel army. He falls in love with, and marries, Olga, a lovely 22-year-old rebel who is as fiery and committed as he is, and they have two daughters. The rebels triumph over the dictator and at first the Hero and his wife are happy in their new life, but the leader of the rebels in due time reveals himself to be a worse dictator than the one who preceded him, turning to the far-right and establishing not just a new authoritarian dictatorship, but an out-and-out totalitarian dictatorship.

The Hero sees that friends of his from the former rebels are being arrested, imprisoned and even executed for speaking out against the totalitarian tack of the new dictator. The Hero and Olga begin stashing away guns, preparing for the day when the disciples of the new dictator come for them. The Hero is now a man without a country, as he has been stripped of his American citizenship by the U.S. State Department, a bureaucracy that does not understand that the Hero was fighting for freedom and justice all along, that the Hero never stopped being an American. The Hero and Olga are captured, dragged from their home and separated. The Hero is given a trial but the verdict was ordained before the court even convened. He writes Olga a last letter, which will not reach her until more than ten years after his death. “You have been my love, my happiness, my companion in life and in my thoughts in my hour of death…do not let your life become lifeless and sad,” he pleads with her.

The Hero stands in front of a firing squad. By most accounts, the new dictator and his younger brother are present at the execution; by some accounts, so is a rather creepy, long-haired fellow who speaks in the sing-song accent of a faraway country.

The executioner orders the Hero to kneel; the Hero answers:

“I kneel before no man.”

They riddle one of the Hero’s knees with machine-gun fire. He staggers but props himself up on one leg. They riddle the other knee with machine-gun fire, and only now does the Hero fall to his knees.

They fire at his shoulders and knock him onto his back.

The executioner, carrying the pistol with which he will deliver the kill shot, approaches the dying Hero and taunts him, “See, we made you kneel.”

The Hero’s last words: “I didn’t kneel.”

The executioner, knowing he can deliver death but not dishonor to the Hero, angrily fires multiple shots into the Hero’s skull, destroying the Hero’s noble face.

Olga is imprisoned for twelve awful years. The dictatorship inflicts savage beatings and solitary confinement upon her, but they cannot make her kneel, either. She never accepts “reeducation,” even though it would make her life much easier. Her feet are firmly planted. She comes to be regarded as a leader, a woman deeply committed to her principles, by her fellow prisoners.

Finally, Olga is released. After several years she leaves her country and finds her way to Toledo, and makes a new home there. She remarries, and begins a new life, but remains committed to obtaining justice for the Hero, eventually winning the restoration of his U.S. citizenship, indeed, winning a statement from the Department of State that the Hero’s citizenship had never been lost at all. She continues to this day to plead for the release of the Hero’s mortal remains to the United States.

Fifty years later, the dictator and his brother are still in power; it’s evident to all but the most dogmatic and foolish that the Hero was right to turn against the new dictator.

It would make a hell of a movie, wouldn’t it?

It’s a true story, by the way, except for one thing: the new dictator did not turn to the far-right, he turned to the far-left. Maybe that’s why this jaw-dropping tale hasn’t been made into a movie yet.

The island nation is Cuba, the now-not-so-new dictator is Fidel Castro, and the Hero’s name is William Morgan. He was executed in Cuba on March 11, 1961.

“I loved him intensely,” Olga told me. Now in her early seventies, Olga Morgan Goodwin is still radiant, and beautiful. William Morgan’s fight was ended by a coward’s bullets; Olga’s fight continues.

I had the extraordinary honor of observing the First Congress of Cuban Political Prisoners (Primer Congreso del Presidio Político Cubano), held from the 3rd to the 5th of April 2009 in Miami, and that’s where I met Olga, who continues to lobby the Castro government to release William’s remains so she can properly bury them in his (and now her) hometown of Toledo.

Will this epic tale ever make it to the big screen? It should have been done a long time ago. Had the movie been made in the 1960s, Steve McQueen would have made an excellent William Morgan. Had the tragedy of the Cuban Revolution happened thirty years before it did, the go-to guy to play Morgan would have been Gary Cooper. My wife thinks DiCaprio could play Morgan. Great actor, certainly, but I don’t quite see it. Matt Damon, maybe, but he’s a committed lefty and probably would not want to participate in a film in which the Castros and Che Guevara (the long-haired fellow at the execution) were portrayed in the harsh negative light of historical fact.

To me, the reason the story of William Morgan has not been made into a movie is that it does not fit Hollywood’s ideological narrative. I have no doubt that if William Morgan had been shot by Pinochet, Hollywood would have made this movie a long time ago. They’d probably be remaking it by now. However, the villain in this story is not some right-winger, and not some American multi-national corporation, but an America-hating, communist tyrant. And the Hero is a man who believes, perhaps naively by Hollywood’s standards, in Democracy. Nah, Hollywood will never touch this story.

Or will it? There has been talk of a William Morgan movie in the recent past, but Olga has not been consulted. To attempt to make a Morgan movie and omit Olga would be like making “Gone With The Wind” omitting Scarlett O’Hara. It would never work. The story of William Morgan is as much a love story as it is an adventure/war story. To omit the love story would be to make half a movie- and box office receipts would reflect that. Anyone wanting to film the story of William Morgan needs to start by talking with Olga.

Unlike Soderbergh’s awful “Che,” this would be a Cuba movie that could actually make some money. If Hollywood wants to do this movie right, Olga Morgan Goodwin has quite a story to tell. William’s own words, in his letter to Olga: “I only ask that someday the truth be known.”

Amen, William.