Buckywunder

''He that lives upon hope will die fasting.'' - Benjamin Franklin

Frankly, I really don't get the praise for this film. It wouldn't even be in my Top 250.

The only thing my spouse has been able to glean from researching the topic on the internet is that psychologically people seem to like the film more and more upon repeated viewings. Well, that and Morgan Freeman's calming voice.

Not that challenging cinematically and a bit of a fantasy that pawns itself off as gritty realism, to be honest.

Not to be an alarmist, but part of me wonders whether this film would be Exhibit A should the country ever descend into a fascist dictatorship much like "From Caligari to Hitler" by Siegfried Kracauer examined German film during the rise of the Nazi's after World War I. There is something going on on a group psychology level here that bears examination.

My somewhat slow, long-term project of revisiting films of my youth that impacted me took me back to that staple of campus films societies at Wisconsin-Madison in the late 1970's, O Lucky Man!, where I first saw it.

Unfortunately, it has not dated well, at least in my opinion. (I know, I used to have a romanticized memory of the movie in my head as well.)

Seeing it again after many, many more years of film-viewing I see this movie as being too long by at least a third. I think it could have really benefited with stricter editing choices and a firmer hand on the story -- which is ironic since Lindsay Anderson himself allegedly kept telling Malcolm McDowell (and presumably the crew) that they needed to do that very same thing.

There's nothing wrong with being ambitious -- and normally I'm a sucker for an ambitious "failure," ESPECIALLY by Hollywood standards -- but they lost the story for some of the anti-establishment points they were trying to make way too inconsistently to hold focus or interest.

There are too many other reasons for falling short to mention here, but not the least of them is that it features the high-water mark of the career of Malcolm McDowell who was at the peak of his international fame between the two Lindsay Anderson films and Stanley Kubrick's A Clockwork Orange (although also very good later in Time After Time).

Once his stock fell after the collapse of the British film industry and he was displaced to the United States (along with a very nasty cocaine habit), his career never fully recovered and seems to have tainted some of Anderson's legacy with him. History, as they say, is written by the winners and McDowell (though, admirably, he cleaned up and turned his life around) hasn't been on the winning end. And just to be clear, I like McDowell.

The cast is terrific (including a very young Helen Mirren who looks amazingly similar to Jennifer Lawrence of today) which is why I give it a 5, but I wouldn't recommend it to anyone other than for film history purposes (British New Wave film, the 1970's, Lindsay Anderson, etc.).

I only discovered "The Goode Family" (TGF) this past week and have been gobbling up past episodes with abandon through YouTube. What a hoot they are.

Nobody remembers that the term "political correctness" was actually coined by the Left before it was hijacked by the GOP and the right-wing in the late '80's. Originally it was meant as a humorous check on ourselves and a term of endearment and self-mocking rather than the derisive put-down of others it mutated into. I like to think that TGF is a continuation of that gentle spirit of PC which softens the edges of political rhetoric that can cut deeply and easily alienate.

Episodes around the politics of being a "football family," public radio, One Earth food stores (a stand in for Whole Foods), eco-terrorism, graffiti tagging and cult icons of frugality and consumer waste hit many of the right spots. For someone who has spent the majority of his adult life in Madison, WI, New York City and Seattle, WA while visiting Portland/Eugene, OR and Berkeley, CA, these shows really do touch on life in these communities no less in need of skewering than people in suburbia or Texas.

While I wouldn't say that the series is yet a subcultural must-see, it bears watching and deserves getting picked up and given more time to develop. TGF reminds me of the first season of Seinfeld where they were just getting characters and themes established. While not as out-and-out shocking and stupid (in a funny way) as Beavis & Butthead, TGF is clever and there is some potential here for very good humor.