Fast Food Nation

I don't know how this film can be called a comedy. Nauseating yes. Tragic certainly. Funny not a bit.

FAST FOOD NATION Written by Eric Schlosser & Richard Linklater Directed by Richard Linklater

I've tried on a number of occasions to eliminate McDonald's from my diet. The first time I tried was a few years back, after reading Eric Schlosser's non-fiction work, FAST FOOD NATION. I remember going to buy fries for the last time before reading the chapter entitled, "Why the Fries Taste so Good." I had to go for that last fry before I could never look at them the same way again. I went for months without a Big Mac or a Quarter Pounder with cheese but it didn't last. Eventually I succumbed to my cravings that persisted despite the time that had elapsed. I knew what I was doing was wrong but as I bit into my two all-beef patties, special sauce, lettuce, cheese, pickles and onions on a sesame seed bun, I conveniently forgot about all the chemicals in the meat, the subliminal advertising geared towards toddlers and the migrant, illegal workers in dangerous meat rendering factories that made my burger possible. No sooner had I had my last bite did my stomach twist into a tangled mess. The pain was both horrible and familiar. Unfortunately, Richard Linklater's narrative interpretation of Schlosser's novel is nowhere near as nauseating or as a big a turn-off as the feeling of a Big Mac sitting at the bottom of your stomach.

The decision to translate FAST FOOD NATION from a non-fiction work of in-depth investigative journalism into a narrative film is a bold one. I was apprehensive at first but Schlosser's involvement co-writing the screenplay with Linklater made me less so. Shaping facts into a story certainly humanizes the global implications of the fast food industry but if the narrative is not compelling then there isn't much of a point. FAST FOOD NATION tells different stories to show the wide reach of how many are affected by the fast food industry. Greg Kinnear plays Don Anderson, an advertising executive responsible for The Big One, the latest burger success at Mickey's, the fictional fast food chain at the center of the film. Don must investigate reports that there are significant traces of cow manure in the meat (Fun!). Ashley Johnson plays Amber, a teenage Mickey's employee who juggles school and work while she begins to see her role in the corporate machine that is waiting in her future. Wilmer Valderrama and Catalina Sandino Moreno play Raul and Sylvia, two Mexican illegal immigrants who have been brought into the United States specifically to work at the rendering plant that manufactures the millions of patties that become The Big One. Very little is revealed about the characters themselves as they are merely symbols for the bigger picture. Consequently, there is very little identification with the film. A film that is trying to tell everyone, "America … this is what you've become," needs the audience to feel like this is their America.

What FAST FOOD NATION best exemplifies is America's complacency with the progression of its society. The problems don't stop at Mickey's. The fast food industry is merely just one faceless industry that is driving the American people into hopeless futures. Kinnear's Don is a prime example. He has spent his life packaging products, feeding them to people the way they like it. All the while, he has also been feeding his convenient lies to himself as well. A successful burger comes at a cost and as he travels from his board room to the assembly line and begins speaking with people who don't have any stake in the production of The Big One, he understands that there are truths under his lies that he cannot go on ignoring. By the time we see him bite into his third burger, his apprehension to do so is rampant. Yet, he still takes that bite. This is what we do. We get fed a ton of information from different angles. The product pushers tell us how wonderful it is and the non-believers prove otherwise. Schlosser's book, which clearly details all the subtle atrocities the fast food industry unleashes into the fabric of America to make one more dollar at the expense of its loyal customers, is well researched and fact-checked. The flip side to the convenience of fast food, from obesity to the exploitation of underage employees, is being discussed by too many people and with increasing validity to be ignored. Yet millions still take that bite.

Linklater does not shy away from expressing his disappointment in the American people nor does he mince words about his lack of optimism relating to making change on the subject. Each character's story is brought to a close and none of them are any better for any of their efforts. Some end up exactly where they wanted not to. Some end up continuing to support the industry despite their newfound knowledge. All these choices are made to ensure money is still coming in, to ensure the American dream is still within reach. Even the youth of tomorrow fail at their attempts to affect the future. The attempt itself does show a trace of Linklater's hope, albeit it fleeting. Despite all this, Linkalter still wants to do his part. The last ten minutes of FAST FOOD NATION bring about some of the more gruesome footage found in the film. We finally get a tour of the "kill floor" at the rendering plant, with plenty of blood and dead cow to go around. The nausea comes too late in FAST FOOD NATION but you certainly won't be rushing for another burger any time soon.

There's a tendency in films of this nature, of the Fast Food Nation kind, where you already know going into it what the message is. It's not quite exactly as immediately black and white as it might seem (at first), but then after a while it becomes much more clear. While filmmaker Richard Linklater doesn't make very simple statements like 'fast food will make you fat', he does try to push the message that the sort of machinery of corporation is similar to that of the assembly line, is what is crippling to those entwined in the circle of cheap product made from dead meat. Which is fine; I'm not one of those that think precisely along the lines of Bertolucci, who was quoted as saying that he leaves messages for the post office and not for film. However, I do expect that if a filmmaker wants to put forward the message- and boy does Fast Food Nation do that more than anything- to make the characters &/or story lines interesting in the dramatic framework. He achieves this, but only up to a point. Narrative focus and dramatic drive only come through much more effectively within the last 45 minutes, while the first half seems startlingly dull, or at the least meandering.

That being said, I did find elements here and there throughout the weaker section of the film interesting. There's even a spellbinding aerial shot of the seemingly unending field of cattle, waiting for the slaughter. But for the most part early on we're treated to the sort of set-up of the main story lines: a group of Mexican illegals (one of them, Sylvia, played well by Catalina Moreno) get picked up by a guy in a van, and taken to a 'Mart' in town, and go to find work. Most of the illegals find it at a meat-packing/grinding/whatever plant, where what is seen by a quasi executive type, Don Anderson (Greg Kinnear), is not seeing everything he thinks he is when shown around the plant. He meets with a couple of people, one environmentally conscious and protective of his land from corporations (Kris Kristofferson), and another who is cynical and not too optimistic (Bruce Willis, who has one of the best scenes in the film albeit with a speech attached). Meanwhile, as he goes into a Mickey's (ho-ho) to get a 'Big One' burger from Amber (Ashley Johnson), Linklater and co-writer Eric Schlosser also follow her tale of nothingness of the small-town teenage girl.

All of these stories interconnect at times, or are left to themselves. While one is actually intriguing and ultimately very sad, which is the Mexican immigrants tale (that sense of tragic exploitation going on that ends up finding a place in the 'Nation' sense of the word), the other two either spurt to a halt after a while, or just kind of go on aimlessly until the last few scenes. The former of those with Kinnear doesn't give him that much to do aside from listening to people talk, and on the phone talking to his family. In a way he could've had his own film as a character, like with Wally Wiggins in Waking Life, but on its own Linklater leaves him be after the first hour, and then coming to a wrap-around in a predictably dour manner in the end credits. Amber's story, on the other hand, is sort of the opposite- she is just a small-town girl living in a lonely world (as the song goes), and sometimes listening to idiotic plots to rob the Mickey's by his co-workers, while here and there figuring out the future for herself.

What's both fascinating and frustrating about the film though could be seen sort of from Amber's storyline, where you see scenes that are convincing both in characters talking like real people (ala Ethan Hawke's moments), but also having not as much to do with the real 'message' going across that one might think- that is until Amber joins up with the young Animal-rights/ecological brigade and goes to cut a fence down to let the cows out. This actually had a real pathos to it, and was even entertaining (probably against Linklater's own intentions). But it's not just the writing or how Linklater connects the stories together. Acting wise it's hit or miss- Moreno is fantastic in a role that ends her up seeing the actual slaughtering of cows (which is staggering, whatever you think about serving meat in fast food). But the huge ensemble either gets their little moments well like Willis or Hawke, or either 'phones it in' like Kristofferson or just outright sucks like Lavigne. There's even a convincing one-note turn by the sleazy, pig manager of the assembly line job (I forget his name), but he too only get to have his character do what's required in the script.

As I walked out of the theater I realized that this wasn't at all a bad film, in fact it's a a pretty decent effort at dramatizing in small-town/big-ensemble fashion what it is to have the ugliness of consumer productivity. But that I also found it to be, of the films I've seen of his so far, my least favorite of Linklater's, which goes to show how strong a work he can still deliver when when not working at full throttle. And it's a little ironic considering how much of a success I found A Scanner Darkly to be, possibly coming closest to my favorite of his, and how both films take on a specific message to the audience, but one accomplishes it by basing it around characters and a really tightly-knit storyline and style that is consistently engaging, while the other is content to hop around from malaise to shock to whatever. Grade: B

I read some of the comments made about this film. It does stay at a very superficial level and leaves the audience a bit "hungry" at the end (but not hungry for meat!). I would have wished for more insights - going deeper into the subject.

I saw some comments about the poor acting and I disagree. I think that all actors had a part and is was nice to bring some stars like Bruce Willis and Ethan Hawke.

I rent the DVD and I watched the special features which contain 3 episodes of "The Meatrix", starring Moopheus. The folks who created this cartoon delivered the same message as "Fast Food Nation" in less than 15 minutes - I learned as much and it was fun! I highly recommend.

This movie is a fast food chain's worst nightmare. The trans fats, chemicals and artificial flavors these corporations pump into their so-called "food" has been slowly killing a generation of children for long enough, and finally someone's come out with a film revealing the inner workings of this dishonest and dangerous industry. The imagery is compelling, with a convincing and talented cast. This is the payback fast food corporations have needed for a long time coming. Hopefully many will see this movie and walk away better educated in order to live a longer, happier, and most importantly, healthier life. Watch out for fast food industry propagandists posing as film critics in order to discredit this film, their future and income very well depends on the ignorance of the general population. (Cigarette corporations anyone?)