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This ordering sets the tone for the film's repeated practice of confusing our ability to know or understand the world with absolutely complete certainty.
Rather than an apology, which is essentially designed to erase the past, McNamara provides us with at least a small window into the Vietnam era, albeit one obscured by the very "fog of war' that he describes...
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McNamara repeatedly dodges questions that would make his part in the war seem to be the villains. He changes the subject on numerous occasions and backtracks several times in order to avoid any questions he finds damaging to him in any way.
The film challenges McNamara's trustworthiness in several places, sometimes through the audio recordings of past conversations with his superiors, and sometimes by the questions we hear Morris ask off-screen at certain point during the movie, but as Slate writer Fred Kaplan points out, McNamara's (usually self-serving) description of the events leading up to and after the Cuban Missile Crisis, Gulf of Tonkin Incident, and Vietnam War most undoubtedly undermines his credibility in his telling of his version of events but like Kaplan, I didn't see those misrepresentations as flaws in Morris's film, which is less a history of United States foreign policy than it is a reflection on the production of historical truth...
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