Fragole e sangue

This exuberant, irreverent, tender, glorious film is THE cinematic embodiment of the sixties. This is one of the greatest films ever made. The camera work sparkles. Plot becomes almost irrelevant. This movie invented music video. It is much more than a movie about this or that. It is a celebration of life, youth, craziness, dreams. It leaves you yearning for life, and makes everything look beautiful. Watch this film to see how limited and timid most films are. What a breath of fresh air!!!!!

Sorry, but it did. I read the book first, which was absolutely priceless. It was the journal of James Simon Kunen (called Simon in the movie), who was a jock at Columbia when the student uprising got started, and half-heartedly joined the protestors, mostly because the squares weren't meeting his needs. He had a wonderfully cynical, pessimistic attitude.

So what do they do for the movie? First they change the setting to San Francisco! Why? Then they make his character into a complete wimp; I cringed at almost every line. And they add all this gratuitous violence, despite the fact that there was almost no violence in the real-life uprising. What struck me about the book/journal was how disorganized everyone was. The protestors didn't have a clear plan. Some of the Columbia students opposed the protestors, and *they* didn't have a clear plan. The cops were powerless to do much of anything to the protestors except occasionally put handcuffs on them and herd them around, and the administration flipped back and forth constantly between trying to compromise with the students and threatening to expel everyone. What I got out of it was that revolution sounds like a great idea, until you get into the dean's office and realize that you don't know what to do, besides pose for a photo in his leather chair while holding a joint.

But that doesn't sell tickets. So they have a big, loud riot scene, ending with a totally campy freeze frame. (I was waiting for Bruce Davison to die in that manner when I saw him in X-Men! No such luck.)

Those were the days.1968 had happened and the times they were changing.

A girl: "why didn't we protest before?

another girl: "we did not know."

"That time long ago when we thought our youth was eternal and the rebels were fighting in the mountains "

The story of a twenty-year old young man who worked hard to go to college and then discovers that the world he wants to get into is worthless.Like in the magnificent Joni Mitchell song (sung by Indian singer (and activist) Buffy Sainte -Marie which opens and closes the movie),Simon is "captive on the carousel of time ,where the little horses go up and down".His tiny apartment is a time capsule: the "2001:a space odyssey" soundtrack, a photograph of Robert Kennedy,and Neil Young's "down by the river" .

"The strawberry statement" could be subtitled "lost illusions ";the incident in the park was a real eye-opener;it's the failure of non-violence;that the "hero" should be "rewarded" for having been beaten up by the cops -whereas he was assaulted by one of his mates in the showers- clearly indicates that it's no use singing "give peace a chance" For those who lived through those troubled times and who did not realize they were "helpless" (like Neil Young sings in his classic also included in the soundtrack),"the strawberry statement" will remind them of that time when we could imagine that we were a brother hood of men and that strikes and songs and demonstrations could save the world.

Like this? try these....

"Alice's restaurant" by Arthur Penn

"Harold and Maud" by Hal Ashby(also featuring Bud Cort)

"Taking off" by Milos Forman

Style tells the story here or at least what there is of it. But don't expect much dialog or exposition. Instead it's a swirling camera and incessant movement that impart mood and progression. Simon's an ordinary college student until he's drawn into the student protests of the turbulent 1960's. There he more or less discovers a 'true self' and becomes a leader of the movement, along with his now co-activist Linda, drawn together by the exhilaration of events.

Despite frustrations with what seems at times a self-indulgent approach, there are some good touches. Catch how Simon's previous life is summed up by the regimentation of the rowing team. There's even an overlay of barbed wire to emphasize the point. I guess that makes up for the absence of a peek into his home life. Moreover, Simon's fantasy moments are also strategically inserted, thereby avoiding dialog to account for his actions. Thankfully, however, the device is not over-used.

On a more personal note-- as a student activist (SDS) of the time at a large metropolitan university, I'd like to offer a couple observations. The movie barely mentions the war then raging in Vietnam. Yet in my experience, it was a prime motivational factor, especially with the draft breathing down so many male necks in behalf of a bloody politician's war. Also, there's almost no political theory discussed even briefly in the movie's fast-moving kaleidoscope. Instead, the movement's leftist orientation is imparted visually by repeated images of an iconic Che Guevara.

The strike we mounted at my school failed to come off when an important student group opposed it. As a result, the movement there soon faded away. In the movie, however, the police violently overwhelm the student strike. Nonetheless, the police action appears over-dramatized even if correct in essentials. This latter I base on what I experienced at the so-called Century City riot of June, 1967, in west LA. There an all-white march of mostly respectable adults ended at a hotel where President Johnson was to speak. Planners however failed to provide an exit route and the crowd soon overflowed with bunched up marchers. Both police and protesters panicked and a melee ensued in which many folks were beaten bloody with batons. It's probably the biggest police-white people fracas in LA since that time. I mention this as a perspective on the movie's portrayal of a police take-over of striking students. Over-done though I believe the depiction is, the movie is still correct in the use of random police violence. And though hippie-style free love is at least implied in the movie, my experience was that the political side of protests was clearly distinguishable from hippie-type cultural protest.

Anyway, the film's disruptive style is rather frustrating. But that may be the movie-makers intended effect since the protest movement itself disrupted convention. In that sense, the finished film would amount to an intentionally awkward combining of style and content in order to better depict turmoil surrounding real student protest. To me, however, some essentials that depend more on words than visuals get unfortunately left out.

All in all, I think the movie does capture a sense of new-found-freedom as the students rebel against a background of 1950's conformity. At the same time, the protest gatherings also provided an educational exposure to many of the country's most vital but suppressed realities. Sure, SS may not be the best student movie of that time, but it does have its moments.

When me and my friends saw this movie first in the seventies, it became one of our favorite movies. It seemed to me like a glorification of youth and freedom, which I had never encountered before. This and the great music (John Lennon, Neil Young and others) helped this movie to get cult status in former East Germany.