This appeared at a convenient point in time for pop culture self-examination through the movies; the narrative intent is that we can review the 1980s through the lens of 1960s thinking.
It starts off with a 'reprogramming' of a dropout via LSD and movie indoctrination. This could have been something clever...instead it deteriorates by hallucinating through "Up In Smoke" and Leone westerns.
The 'ideal world' is depicted as "Woodstock", with the main characters stolen out of "Easy Rider". They take an excursion through "Salvador" and "The Mosquito Coast".
The whole thing, production-wise, staggers about in a manner as clumsy as "Where the Buffalo Roam" and "Animal House". It resolves through "Deer Hunter", "Stripes" and the Beatles' 'Revolution'.
The point of all this is to tear down the detached, colorless, sexless, 'boozh-wa' 1980s and reindoctrinate the audience to 'the truth' with the 'romantic' drug of the movie. An audience is assembled in the movie to first provoke (in us)the intended feeling of 'guilt', and the second time to sublimate into 'activism'.
As I wrote earlier, it's just not clever. The problem is, it doesn't know how to target the comedic center. Everything ends up as a target, including Roberts because he doesn't know how to play this in a smart way -- there's no winking at the viewer. The producers thought this was 'affirming', oblivious to the joke on themselves.
It starts off with a 'reprogramming' of a dropout via LSD and movie indoctrination. This could have been something clever...instead it deteriorates by hallucinating through "Up In Smoke" and Leone westerns.
The 'ideal world' is depicted as "Woodstock", with the main characters stolen out of "Easy Rider". They take an excursion through "Salvador" and "The Mosquito Coast".
The whole thing, production-wise, staggers about in a manner as clumsy as "Where the Buffalo Roam" and "Animal House". It resolves through "Deer Hunter", "Stripes" and the Beatles' 'Revolution'.
The point of all this is to tear down the detached, colorless, sexless, 'boozh-wa' 1980s and reindoctrinate the audience to 'the truth' with the 'romantic' drug of the movie. An audience is assembled in the movie to first provoke (in us)the intended feeling of 'guilt', and the second time to sublimate into 'activism'.
As I wrote earlier, it's just not clever. The problem is, it doesn't know how to target the comedic center. Everything ends up as a target, including Roberts because he doesn't know how to play this in a smart way -- there's no winking at the viewer. The producers thought this was 'affirming', oblivious to the joke on themselves.