FTA

The point of viewing this film is not only to see the theatrical skits performed by young stars like Jane Fonda and Donald Sutherland, but to see those skits in context, filmed as they were performed on and near military bases around the world, to audiences of American troops, as the U.S. was in the midst of the Viet Nam war. Like most vaudeville, the skits were an excuse for political and social commentary, though some of them were funny and others were quite moving. The music was also excellent. What is most remarkable in the film, though, are the interviews with soldiers on active duty in wartime, and the camera pans of vast crowds of soldiers watching the stage performance avidly. It brings home the support that the peace movement had even with active duty troops in wartime. It's exceptionally difficult to get a copy of this film in the U.S., though there are some copies still in circulation in Europe. If you ever get a chance to see it, don't miss it--it's an important slice of U.S. history, long buried and forgotten. Today we remember (falsely) that peaceniks spat upon veterans. This gives the lie to that urban myth. In fact, the peace movement and veterans were often strongly aligned, as both groups were dedicated to "supporting the troops" by bringing them home.

http://mrzine.monthlyreview.org/rothermel010409.html FTA -- Now More Than Ever by Jay Rothermel

FTA (Dir. Francine Parker, 1972).

Preamble: "This film was made in association with the servicewomen and men stationed on the United States bases of the Pacific Rim, together with their friends whose lands they presently occupy." Accepting his Oscar for Best Actor, Sean Penn jokingly referred to the Academy as lovers of "commies and homos." It's a tribute to the low level of politics among our cultural workers today that Sean Penn would be surprised at acknowledgement of his performance. The Academy loves movies about exceptional heroes, whether they are overcoming physical disabilities, sports team segregation, the Holocaust, or the Roman Empire.

The entertainment industrial complex also loves it when its celebrities serve as a prophylactic for US humanitarian imperialism in countries like Sudan or Tibet. (Poor Rose McGowan, conversely, hasn't been heard or seen since expressing understanding for what motivated men and women in Ireland to join the IRA.) All of which brings us to the opposite end of the movie food chain, far from the heights of Oscardom: FTA, Francine Parker's documentary about the "Free the Army" tour. Washington and Wall Street long ago erased this movie. The miracle of globalized media today, however, means we can sit at home and watch it on DVD or its showing on that greener-than-green parrot cage called the Sundance Channel.

What strikes the viewer first about FTA is the humility, sense of proportion, and optimism the film has about events it depicts. We are a long way here from the old Michael Moore bazooka and the longeurs of Ken Burns, Inc.

There are many similarities between FTA and the great rock concert documentaries of the same period: only a few lines of narration for context, and then getting out of the way of the performances.

FTA the movie was long ago blacklisted from theaters, just as FTA the traveling political musical extravaganza was blacklisted from history. A key part of the "culture war" trumpeted by media and academic hacks of the Bill Bennett-David Horowitz-Rush Limbaugh variety (and which is itself part of a larger 30 year war against the gains of the labor, civil rights, women's, and anti-war movements) is the depiction of the those opposed to the Vietnam War as "stabbing our troops in the back." One tonic effect of FTA's DVD release and Sundance showing is to put the lie to that libel. As Washington's invasion and war against the people of Vietnam proceeded, one of the greatest concentrations of anti-war sentiment and activism was found among GIs themselves. The script for the FTA revue itself was drawn exclusively from material GIs published in their own anti-war newspapers.

FTA was the product of a flourishing anti-war culture. Today we see this culture boiled down to a History Channel "flower power" documentary, histories like Tom Brokaw's Boom, and the memoirs of Senators and ex-Senators like John Kerry and Bob Kerry. But Vietnam's war of independence at its height inspired militants around the world, from Che Guevara's guerillas to the 1968 strikers in France.

One of the great pleasures of FTA is the forthright energy of the performers and their audience. The GIs heard their own thoughts -- salty, sarcastic, and full of gallows humor and solidarity at the same time -- repeated back to them. The leaps of consciousness over just a few years as they rejected each rationale of the Washington war machine confirmed the anti-war movement's strategy of orienting to these "workers in uniform." The cast of the FTA revue is filled with gifted performers. They continued with their artistic careers after the U.S. anti-war tide receded. It is a pleasure to see them in their youth, energized by work that gave shape to the feelings of the immense majority. Between concerts they marched in solidarity with local activists protesting Washington's devastating "military base colonialism" in the Philippines, Okinawa, and Japan.

Today one of the movie FTA's great strengths is its potential as a recruiting tool. It is the perfect length to have classes, meetings, and potlucks built around it. The moral authority of the movie is without equal: completely ignoring the pundits and the bi-partisan Wall Street war party in Washington, it lets the anti-war GIs speak for themselves.

Jay Rothermel lives in Cleveland, Ohio.

Jane Fonda and Donald Sutherland headline an anti-war tour around military establishments. In the opening, Jane claims that there is a large contingent of military personnel opposed to the war. This is their response to the Bob Hope patriotism and pro-war USO tours. The film was pulled quickly after Jane's Hanoi visit and most copies destroyed. This is a very compelling time capsule. The anti-war movement can be portrayed as lamb to the slaughter. In this case, this group is quite confrontational. I am especially struck by the lyrics from the Okinawa singing group. This is unapologetically anti-Americanism. Some of this goes over the line for me but I didn't live through that time. As a film, it's a little rough technically at times. The filmmaking is not the best but that is not the most important.

I'm glad the docu refrains from lengthy preachments against the Vietnam war. Instead the narrative's a mix of anti-war songs, dance numbers and comedy sketches, but most importantly are the revelatory comments from soldiers themselves about personal feelings toward the army and life stateside. Many are on the humorous side, yet short in length. Nonetheless, their overall impact remains unmistakable.

Fonda and Sutherland both sing and comment, each serving more as continuity between sections than as major spokespeople. That mainly allows the focus to be where it should be: namely, on the servicemen and women of all races and their anti-war, anti-army feelings. Perhaps unexpectedly, there are no stagings in Vietnam itself, probably because of Defense Department restrictions. (After all, this is not Bob Hope.) Instead the show travels across the Pacific ending in Japan and lingering images of 1945's a-bomb blasts. Still, the overlapping message remains basically the same across the changing locales and service-personnel.

Anyway, whether you agree or not with the anti-war stance, the docu's well worth catching up with. And though 50-years have passed, the underlying feelings are as relevant now as they were then.

So after a year of enduring a "long wait" listing on Netflix, I finally got FTA in the mail yesterday and just watched it on DVD. A chronicle of Jane Fonda and Donald Sutherland's travails through the Pacific Rim with their fellow players for the title tour during 1971, we not only see them performing their skits and songs, we also see the disillusioned soldiers commenting on how they don't really understand or like the orders they're having to take during the then-current events of the Vietnam War. I was especially fascinated by the Philippines segment as both of my parents are from there and had left it long before that time. I liked many of the songs that were performed. The skits, not as much, but there were some amusing ones like Sutherland and a fellow player's play-by-play commentary of war as if they're at a football game! It seemed to drag near the end but still, I'm glad I watched FTA. Update: 10/5/14-There's a nice extra of Ms. Fonda talking about her experiences during the FTA tour. Well worth seeking on the disc.