Against the star-spangled, quilted backdrop of what looks like it could be a friendly, amateur Fourth of July talent show, Jane Fonda, Donald Sutherland, and the company of the Fta Show raise their fists and middle fingers to the United States Armed Forces. They’re accompanied by the raucous cheers from thousands of enlisted service members who make up a fraction of the reported 64,000 total GI attendees over the course of the Fta Show’s tour through U.S. military bases in Hawai’i, the Philippines, and Japan. At each station they delight in having an outlet to tell their employers to screw off and set the date to get them back home.
It’s hard to call an anti-Vietnam doc anyone’s idea of a good time, which is the exact expectation F.T.A—the film, the show it documents, and the stars of both—so brilliantly subverts to its advantage.
It’s hard to call an anti-Vietnam doc anyone’s idea of a good time, which is the exact expectation F.T.A—the film, the show it documents, and the stars of both—so brilliantly subverts to its advantage.
- 3/10/2021
- by Shayna Warner
- The Film Stage
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