Hey, seen those ads for American Dreams, coming this fall? Does it not look like an excuse for NBC to mine their archives for good stock footage and paste it in-between dramatized accounts of the history baby boomers remember most? Kind of like an E! True Hollywood Story melded with a VH1 Behind the Music, but with no stars or good groupie stories, and all about stuff that's already been made into motion pictures or cough, cough covered in this TV movie I'm recapping right now, but with perhaps less subtlety and did I mention no stars? Yeah, me too.
We open with footage of Malcolm X speaking. The topic: How the white man controls the black man. I love Malcolm X. Now there's a revolutionary you can get behind. Not like this Kenny person. Then we learn that Malcolm X was assassinated. We see footage of people crying, then Charles and his dad Charles Dutton painting some fences. Charles Jr. paints so angrily that his dad has to remind him the paint is supposed to stay on the wall. Charles wheels around and asks if his dad "heard" what "they were saying," about how Elijah Mohammed may have assassinated Malcolm X, and that he was hired by the CIA to do so. Like his dad, the big community leader, wouldn't have heard that, she said expositionally. Charles yells that his dad is a fool to think the government will "ever set the black man free." His dad says not to be bitter, because bitterness leads to chaos. It does? Oh, dip. I better unbitter myself. Charles Dutton goes on a Bible-quoting tangent until Charles Jr. joins in on the fun. But his "rage and bitterness are true," and "getting beaten down with hoses isn't going to change anything." Wow. That is one angry black man. See how they used to be, back in the day? And the '60s sure were back in the day, all right. Charles Dutton watches his son walk away and makes a big old sad face.
It's the time. Of the season. Doo doo doo. We're in San Francisco, where a pregnant Julia Stiles (she has a tummy bulge and is due soon) is having her hair combed by none other than Carnie Wilson! More awesome stunt casting from children of real '60s stars! How cool. Donovan and Carnie hustle on out the door on a camping trip, leaving Julia to wait out the last few moments of her pregnancy on her own. Carnie says, "Look for the sign that says, 'No Turn Left Unstoned'!" Oh, wow, non sequitur dialogue about weed, man! That is far out! Go Carnie with your bad self. Can I get a hit of that? They are literally out the door when Julia grabs her tummy and goes, "Ow!" Then she smiles all, fooled ya! What's your name? Who's your daddy? Doo doo doo. Is he rich like me-heee?
Previous 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17Next
We get a hitchhiking montage as the song plays. A creep in a convertible stops for her. Oh, no. Finally, she gets out of a VW bus, in San Francisco. A sitar plays. She enters a home, with "OM" painted on the walls and people playing guitar everywhere she looks. Finally she sees Donovan Leitch painting a naked lady, and says hi. He remembers her, and introduces her to his "old lady," the model. Julia says that this is "kind of hard." Old Lady says, "You're pregnant, right?" Donovan Leitch says "that is far out." That doesn't help matters, "man."
More Vietnam footage. "125,000 troops are to be sent over right away," says LBJ. The music is sad. Sarah organizes a rally and a petition, until she sees Michael. They kiss. Then they decide to march.
Black-and-white fades to color as we see the actors "march" in protest of the war. They stand in front of the troop train, then get out of the way -- except Kenny. He stands and screams and won't move. The crowd watches as the train goes by, unimpeded. When the train is gone, we see Kenny in the hands of armed guards, still screaming "stop the train!" Wow, what a passionate nut.
At the post-protest party, Sarah and Michael kiss Kenny's ass, all, wow, man, it's like you vaporized in front of that train, man! That was so cooool. Kenny leans against the wall and eats it up with a spoon. A Chinese delivery guy busts into their little group and demands money for the delivery. Michael is perhaps new to the ways of paying the delivery guy when he shows up with food, and makes "um" noises as the guy repeatedly asks for money. Then the Chinese guy just switches to Chinese and sounds like he's cursing the day Michael was born. Kenny, still in smarmy/suave mode, takes over and pays the guy, saying Michael should read The Wretched of the Earth
, and that the guy makes more money the faster he completes deliveries. Oh, Kenny, thou art so wise. Shall I count the ways in which you school the bougie? Kenny says that "the [delivery] guy comes over here, he comes from a tribal culture, but capitalism doesn't have time for rituals, so he trades good manners for efficiency." Un-huh. Oh, he thought you all were a bunch of wieners and wanted to get out of there with a quickness. Michael is all, yeah, delivery guy was "caught under the wheels of the revolution." Wow, man. Kenny looks at him disdainfully and says, "You're kidding. Sometimes you have to crawl into the belly of the beast!" Oh, for fuck's sake -- STOP TALKING IN METAPHORS! Throw that one out on the stoop and see if the cat licks it up. Michael says he thinks the "belly of the beast" is in that take-out carton on the table. Sarah giggles, in her white eyeliner. Sock it to me, Sarah! Kenny is all, seriously, "you have to understand and share in the struggles of the worker...the demands of market imperialism that caused him to leave his homeland," blah blah blah. Shut up about the working man, Kenny. Michael makes a Dylan pun, which Sarah jumps all over, which Kenny then trumps by saying he can get backstage passes to the concert in Newport this July, if Sarah wants to come with. Sarah gets all googly-oogly, and gushes, "Reeeeally!" Kenny makes goo-goo eyes like mad at her. Michael is all, whuh? My girl, she's getting moved in on? Me no like! Sarah asks if "Michael can come too," and Kenny says he thinks there are tickets left, or maybe not. Oh, snap.
Previous 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18Next