The Second Civil War

This movie was an original film made by HBO and was shown in 1997 and then disappeared.

Why? Too many un-PC remarks is my guess. At one point Dan Hedaya (head of the CNN look-alike NetworkNews) yells that somebody needs to get the White House on the phone "unless Tokyo has foreclosed on it!". The story is brilliantly created and the cast is amazing.

Look at the cast and ask yourself how this film could just disappear.

The mayor of Los Angeles is giving a speech, and the newsroom is frantically looking for a translator. But NOT to translate into Spanish. No, to translate HIS speech into English.

I say shame on HBO for letting this film slide into oblivion, You can still find it, used, on VHS but it never went to DVD. You cannot buy it from HBO.

You gotta ask yourself why... Edited to add - now on DVD if you can find it.

Calling it the near future in the beginning without specifying the year worked great since this could've been the actual state of the USA a couple of years ago, being absolutely the black comedy in real life. The beginning of India nuking Pakistan was not something I expected from this movie. But then that leading to internal conflict in the US, then personal situations of politicians and the prejudices of people working together to make everything worse and worse as it went on all were really great ideas. Choosing to centre the movie in a newsroom so they can cover everywhere was also a great choice. There are just so many great ideas in this film and so many commentaries made. A lot of them worked and a lot of them didn't. It was a bit overcrowded. I feel like this would've worked better if it was much longer with more things grounding it to the narrative to let the messages speak for themselves. The whole wasn't really as great as the sum of the parts. There are many things in it that are shown like they are exposing stuff, while the direction makes it feel like even while showing such things, they are not understanding the actual complexities and believe in a more idealistic world without considering what should actually be done. It could also be attributed that a lot of these might be considered hyperbolic in the 90s while it feels much closer to reality now, so that may be why the very Americanised idealistic view the makers had that they were afraid to be broken. There are also many aspects of it that clearly show this is a pre-9/11 American movie, which couldn't have been part of such a movie afterwards.

Overall, I loved a lot of it but thought some of it was pretty stupid. However, as a movie, it did work to get its point across, and being almost prophetic of how The US has become recently, it deserves appreciation, even though it has its fair share of flaws.

Talk about biting political satire that's probably the most effective thing since Wag the Dog. There's this made for HBO film that came out in 1997 titled The Second Civil War. Like many of the decent films of that decade, it takes shots at all sides (it might lean a little more to the left than the right, but only a little, which is quite refreshing), takes aim at politicians and the media, and begs the question at how good of an idea the Melting Pot and forced immigration really is (it tackles those issues in more directions than you're used to). And it ends on a somewhat dreary (yet provides a decent last laugh) note that doesn't provide any answers, at least no easy ones, leaving it up to the viewer to ponder. God I miss the days when they wouldn't bash a blunt message over your head.

So, I was most of the way through Joe Dante's filmography when I went through the overall list of everything he'd done again. He'd done a whole lot of television work, especially since the box office failure of Matinee, and it was a bit difficult to sort through stuff that could be pretty easily ignored (like C. S. I. Episodes) and other stuff that may or may not need attention. I settled on three things, the two Masters of Horror episodes Dante directed (mostly just because I had done the episodes that John Carpenter had directed), and this, The Second Civil War, an HBO movie he made just before Small Soldiers. Well, I mostly chose to do it for two reasons (as opposed to something like The Warlord: The Battle for the Galaxy, a television show pilot that didn't get picked up). The first was because it did get a limited theatrical release in Europe. The second was that Dante reportedly thought it was the best movie he'd ever made. Well, I couldn't just ignore that.

And what I found was a searing bit of omnidirectional political satire set in a future (though still 1998?) where America has spent at least a decade being overrun by immigrants and refugees from across the planet to the point where the governor of Rhode Island, Chinese by heritage, ends up calling for the end of immigration into America because it's changing the Chinese hybrid version of Rhode Island that he and his constituents call home.

The actual focus of the film's dramatic action is a standoff between the President of the United States (Phil Hartman, which should give you a clue about the tone of this film) and the governor of Idaho (Beau Bridges) after a nuclear blast in Pakistan displaces a large segment of the population and a charity is flying a planeload of children from Pakistan to Idaho as refugees. One of the smaller issues with the film is that the history of the wild, out of control immigration is only addressed in fits and starts, not coming up for about half an hour, actually, which may be the point and I'm wrong.

Anyway, the drive of the action comes from the NN newsroom run by Mel (Dan Hedaya) who talks about how their job is to put to trains on the same track and get them to crash. In a film where everyone comes out bad except a couple of characters, it's the media at large, especially those in charge, that comes out worst. They're manipulative, dishonest, and they do everything they possibly can to make sure that the train crash happens.

The comedy of the film is really consistent and often laugh out loud funny, digging in a knife into everyone in the film, from the person running the charity complaining about the cameraman (Dick Miller) using the wrong lens and dreaming of more donations to the governor being more concerned about his affair with a newscaster to the president needing to constantly find comparisons with previous presidents (the funniest being when he misunderstands the suggestion for FDR as Teddy Roosevelt).

The movement of the plot escalates in the standoff with the governor putting up roadblocks into the state with the National Guard, the army facing them down (a great little scene as two old generals insult each other mercilessly to their face while people watching on TV, unaware of what is being said, waxing poetic about the beautiful things they must be talking about), and a potential standdown that gets misunderstood leading to shooting. All of this is happening while no one really seems to care about it, the issue gets pushed aside constantly, and the governor unwittingly ends up collecting supporters from other states (like the aforementioned Chinese governor of Rhode Island).

There are also fairly isolated funny bits like the Hispanic mayor of Los Angeles giving a fiery speech in favor of the refugees, turning it into a call for repatriation of California into Mexico, and a race war breaking out because the African American parts of Los Angeles don't want it. Or, when James Earl Jones, the sage, older newsman who remembers when news was news (yeah, sure, I've seen Ace in the Hole), interviews a Congressman from Alabama who is a Sikh with this absurd Southern/Sikh accent combination.

I think Dante was skewering everyone here, and I wouldn't presume to use this to determine his own political outlook, but it really does feel like the anti-immigration side comes out better here. Yes, they're still skewered (there's a militia in Idaho that gets some satirical attention, in particular), but the actual plotline's winning moment is when the coalition of states forms and becomes public. I kind of get the sense that Dante really doesn't care that much about politics, and he was just out to skewer everyone, though.

And I think it works. I grate at the effort to make the "good" newsmen the heroes (Denis Leary plays the other) and the attempt at character-based pathos around the governor and his girlfriend (Elizabeth Pena), probably the film's actual dramatic and thematic point about combining cultures since she's Mexican and it's been a subplot through the whole thing about how she wants to break it off with him because of the whole immigration thing, but I also see the same sort of attitude here as I saw in Matinee, about leaving behind the troubles of the world to just live a little life away from it all.

It's really funny. It's got real satirical bite. It's omnidirectional in its scorn. It's got that anarchic spirit that Dante brought most obviously in Gremlins 2. This is a small gem in Dante's filmography, and I'm glad I didn't skip it.

Joe Dante's brilliant, stinging political satire The Second Civil War was awarded a pitifully limited cable release on HBO instead of the wide distribution it deserves, and I think that may have something to do with the fact that it hit a bit too close to home for some people with scarily accurate portrayal of the thoroughly idiotic state of mind that is present in every aspect of American politics. Come to think of it, the film was really prophetic when I think of how mangled things are in our neighbours disillusioned abode. Dante is a director who usually sticks to gooey fantasy/horror/comedy such as Gremlins or The Burbs, but here he ventures into the real world, without losing an ounce of his comic streak. There's trouble brewing stateside when renegade Idaho Governor Jim Farley (daft Beau Bridges) announces that he's closing his state's borders to immigrants, conveniently right at the time when Mexican refugees are scheduled to be brought in. This causes an uproar across the land as his immature antic catch the attention many different key players across the board. Ironically, he's shagging a sexy Mexican publicist (Elizabeth Pena, RIP) who is appalled with his behaviour. The frustrated US President (Phil Hartman) sends dapper 'fixer' Jack Buchan (James Coburn nails the darkly odd tone) who finds himself in over his head. Suddenly the Governor mobilizes troops to secure the state border, and schit gets real when the President retaliates by stationing forces of his own surrounding Idaho. The country seems to be on the brink of a ridiculous yet very plausible conflict of 'civil' proportions. Tension gets widespread when a hotshot New Network CEO (Dan Hedaya) and his drastic right hand man (Ron Perlman) send rogue report Denis Leary to cover the story. There's also additions to the unbelievably good cast from James Earl Jones, Roger Corman, Brian Keith, Johanna Cassidy, Dick Miller and more. The comedic tone abruptly shifts to deadly serious as actual violence erupts and we know that the film means business as our laughs go up in tank smoke as we get uncomfortable at the mirror being held. It's satire, it's fun but it's also a warning at the dangers of impulsive decision making and uneducated lunacy. At heart it's a comedy though, and a criminally overlooked one at that.