Kansas-5

Roy Kissin, who co-wrote the screenplay, competed in the Dipsea, if memory serves. He was an outstanding runner from Stanford, I believe. Other repeat race winners featured in the film were Darryl Beardall, who was a major character in the film, Sal Vasquez, who won the race seven times, and Russ Kiernan. Jenny Biddulph was also in it, in her early teens at the time. She is know better for being the co-creator, with her late husband, Brian Maxwell, of energy bars, namely Power Bars. The race is handicapped by age and sex, and she did very well, given a head start because of her young age and gender. Bill Bailey was a real radical activist from the '30s, as was Walter Stack, who was a longshoreman during the 1934 General Strike in San Francisco, and in his seventies, the president/impresario of the renowned Dolphin South End Running Club. The race has been held annually for over a century.

Contrary to the review above, Lenny did not co-write and co-direct this film, unless he somehow managed to do so five years after his death. If anyone could do that, it would be Lenny.

Bruce's stream-of-consciousness comedic riffing, his ridiculing of homophobia and the denigration of Native Americans, his doing all the voices of the various characters, epitomize his genius, accomplished while he encountered endless formidable adversaries, the direct descendants of fanatical Comstockery. What torment he endured was a product in no small part of religious fanaticism, the same sort of social control that required the Supreme Court to decide against the forces of theocracy in Griswold v. Connecticut, Roe v. Wade, and Lawrence v. Texas.

Commentators here have complained about the quality of the film, but in 1971, lacking both the budget of a Disney studio and the current state of technology that allows for instance, for South Park, it captured the essence of the man and the quality of his work. Without Lenny, we couldn't have had Richard Pryor.

I drove 140 miles, round trip, in foreboding weather, to attend the nearest U.S. opening.

It was well worth it.

First some context.

I've freelanced for decades, including during a war, successfully exposed major governmental corruption, weathered concerted retaliation and have been regularly appalled at the weakness of corporate, bureaucratic and political weasels who abandoned ideals, professionalism and integrity, "going along to get along." I was aware of Webb's writing and vilification at the time they occurred, in the late '90s, but for over 50 years I had a front row seat for even pre-Nixonian "drug wars" through the "crack epidemic," genocidal American imperialism, and the treatment of many other reporters who dared challenge the status quo, who had the courage to painfully examine the quaint and naive notion of collective national decency.

Webb's story, so artfully recounted and performed, was unfortunately true. He was accused of distorting the actuality of Reagan-era hypocrisy, but his reporting was accurate. He never accused the CIA of intentionally destroying the social fabric of minority communities, but made it clear that Harlem and Watts and Chicago's South Side were victims of "collateral damage," the inevitable consequences of the abandonment of any pretense of morality ostensibly possessed by the Reagan administration.

Indeed, spurred by new information about the practice of questionable property seizures, Webb had once again picked at the scab covering the decade-old, gangrenous infestation of our government, later well described by Robert Parry in his October 2004 Salon piece, "How Kerry exposed the Contra-cocaine scandal." To get the story, Webb had exposed himself to blood curdling danger, both at his own home in the U.S. and on the scene, in Central America.

Perhaps the worst betrayal of public trust by this film is depicted in recapitulation of the collective response of the New York Times, the Washington Post and the Los Angeles Times, after being pressured by the CIA and the State Department. The papers' responded with hyperactive involvement in the personal destruction of Webb's reporting, reputation and life. Previously. the same papers, pressured by Reagan administration officials, buried Senator John Kerry's investigation, and shared subsequent malfeasance in their facilitating the Bush/Cheney administration's illegal and genocidal invasion and occupation of Iraq.

The NY Times and Post had some odious history themselves. Reporters Ray Bonner and Alma Guillermoprieto were reassigned to boring beats after their courageous exposure of the incredibly savage El Mozote Massacre in El Salvador.

There, the U.S. trained, funded and armed Atlacatl Battalion murdered almost a thousand peasants, largely neutral evangelical Protestants, and mostly women and children, on December 11, 1981. Stanley Miesler's El Mozote Case Study, published in the Columbia Journalism Review, exhaustively documented their fates.

This film captured all those similar disgraceful elements. It needs to be seen by a wider audience just as it would be wise to make "Dr. Strangelove" part of a core curriculum in the formal education of American adolescents.