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Morris' film THE UNKNOWN KNOWN is a gripping exploration of the career and philosophy of former U.S Secretary of Defense Donald Rumsfeld. Using declassified memos, Morris guides Rumsfeld through a discussion of his controversial career as a high-level executive under four different Republican presidents. Such absorbing topics as Vietnam, the Cold War, Desert Storm and the War on Terror are all examined through the words of one of America's most divisive and complex public figures. (c) Fantastic.

"There are (known) knowns, things you know you know," former Secretary of Defense Donald Rumsfeld once said. "There are known unknowns, the things you know you don't know. But then there's that third category, and those are the unknown unknowns."
So what do we know about Rumsfeld?

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Well, on paper we know he was a straight-arrow kid who served in the Navy, married his high-school sweetheart, was elected to Congress and became, at 43, the country's youngest Secretary of Defense. Also, several presidents later, our oldest Secretary of Defense.
And then, most essentially perhaps, the architect of our post 9/11 geopolitical strategies, the cheerleader for our wars in Iraq and Afghanistan, and the man in charge when prisoners were — let's use the correct words — tortured and abused.

But what would he rather we not know about him?
That's the fuel behind "The Unknown Known," a laser-focused documentary from Errol Morris. Morris has pulled people into the spotlight before (including another Secretary of Defense, Robert S. McNamara). But Rumsfeld is a special case.
For one thing — no insult to former Morris subjects — he's whipsmart. (A Princeton grad, Rumsfeld went on to Georgetown Law and can not only think fast on his feet, but clearly enjoys the give and take of philosophy, debate, even semantics).

For another — unlike McNamara — he has no doubts, no second thoughts and certainly no guilt. You disagree with stationing troops in Afghanistan? With the perpetual detention of captured combatants? Well, then, perhaps you should express those thoughts to the current president — who's kept those Bush-era policies in place.

Errol Morris must have thought that it would be a real coup to do a documentary about Donald Rumsfeld, just as it was when he got Robert McNamara to confess his doubts and mistakes during Vietnam in The Fog of War. To make The Unknown Known, Rumsfeld agreed to be interviewed for more than 30 hours in front of Morris' specially rigged Interrotron camera. But when you see the movie, you'll know why: Donald Rumsfeld is a man who likes to hear himself talk. That, after all, was the ultimate message of those realpolitik Zen koans (''Stuff happens,'' ''Osama bin Laden is either alive and well or alive and not too well or not alive'') he dropped in his Iraq-war press conferences. He was making his prankish obfuscations the real story, a gambit the press mocked but also fell for.
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In The Unknown Known, Rumsfeld prattles on, quoting from the thousands of ''memos'' he churned out like notes to be stuck in fortune cookies during his tenure in Washington. The memos are stray thoughts, directives, and random bits of Rumsfeldiana; the film's message seems to be that in corrupt governments, words are used not to communicate but as a kind of fascist confetti. Yet to take the playfully convoluted, semi-nonsensical aggression of Rumsfeld's language and make it the whole point of a movie is to fall into the trap of mistaking the spin for the story. (Also available on iTunes and VOD) B-

 The film certainly serves as something of a cousin to “The Fog Of War,” with the focus placed almost entirely on an extended interview with his subject. Morris has more material to work with here, though—Rumsfeld dictated regular memos (or, as he calls them, “snowflakes”) throughout his career that have subsequently been archived, and which, according to him, may number in the millions. Now (mostly) unclassified, Morris intersperses his more direct questions by getting Rumsfeld to read some of these memos directly into his trademark “Interrotron,” which allows Morris to interview his subjects while still allowing them to look directly into camera.