"F**K: A Documentary "
In a world where free speech has become an endangered species, "F**K" is a smart, comprehensive, and compelling documentary about the most controversial - and arguably the most expressive - word in the English language.
In a series of lively interviews with diverse personalities, film and television clips, and original animated sequences created by Oscar-nominee Bill Plympton, director/producer Steve Anderson chronicles the infamous expletive's etymology and impact, proving that, in this case, a word is not just a word.
Anderson's interest in this potent, all-purpose expletive began when he was a writer. He was intrigued by the fact that it can be used at any time and in all different ways - and by its power.
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"It's a verb, it's a noun, and it's an adjective," Anderson explains. "'F**Mk' is really a word that polarizes public opinion. Some people are offended by it and some are not. It became clear to me that it is a word right at the heart of the broader debate of Freedom of Speech and the First Amendment. I thought it would be great to examine it in all aspects of popular culture."
In the film, Anderson leads viewers in a spirited study of history, politics, entertainment, censorship and other hot topics as they relate to the word "F**Mk".
For Anderson, "F**K" was, as he describes, "a living, growing thing." One idea leads to another, especially during the making of a documentary.
"You start with what you think you might like your film to be, who you'd like to be in it, the approach you want to take," Anderson observes. "But you never know what you have until you acquire it, until you get the interviews, until you talk to a lot of people. Your views may change a little bit. Then the next interview influences the film a little bit more.
"I'm happy because the film is exactly what I wanted it to be when I started out."
At the heart of "F**K" are Anderson's provocative interviews with an eclectic group of people from all sides of the word controversy. Sidestepping familiar or predictable choices, the filmmaker pursued - and captured with his camera - intriguing points of view from unexpected sources.
"I wanted to get people from across the spectrum - from the arts, politics, and religion, and I think we succeeded. We have some great people in the film. Pat Boone is a great interview. Ice-T is very funny. Billy Connolly is hilarious. And we were lucky enough to get what I believe is the last filmed interview with Hunter S. Thompson."
Other interviewees include Bill Maher, Ben Bradlee, Drew Carey, Sam Donaldson, Janeane Garafalo, Alanis Morissette, and conservative radio host Dennis Prager.
In Anderson's able hands, perspectives on this controversial subject are reversed. Liberals will find themselves responding warmly to Pat Boone's good-humored description of how he has turned his own name into an expletive.
He exclaims "Boone!" whenever he wants to express anger or frustration. Conversely, conservatives may be amused by potty-mouthed director Kevin Smith and his ideas on the subject.
But the most compelling issue in "F**K" is not when, where, or even if it is appropriate to use language that is considered extreme. Anderson uses the "F-word" to examine the current state of Freedom of Speech in America.
"I think many of us are afraid that our freedoms might be eroded, and pretty soon we'll look around and find ourselves in not such a great country. There are people who want to impose more rules and restrictions. But Freedom of Speech means exactly that: Freedom... of... Speech. The very fact I can make a film like this is what makes this country great," he argues.
Even the title is designed to spark debate. Anderson always believed that "F**K" was the best possible title for his documentary, even though it would be a marketing challenge.
"It's obvious that you couldn't print the ads for a film entitled "F**K" in newspapers like the LA Times or the New York Times," he says. "How does it go on a marquee? So, in an odd way, that's what the movie is all about, the reaction to the title. The debate we've had as filmmakers reflects society's debate about the word itself.
"Is it appropriate? Can we get away with it? Is it a good thing? Is it a bad thing? Do we need to use asterisks? The film deals with censorship and censorship issues. What's right and what's wrong? That is what is so fascinating about the word.
"I want to provoke an honest, uncensored discussion, but the realities of the marketplace inevitably affect how the film is presented."
Anderson suggests that viewers may be surprised by the fact that "F**K" is actually not sensational or exploitative.
"When you sit down to watch it from beginning to end, it's not all that controversial; in fact, it's thoughtful. We talk about controversial subjects, but I like to think of the film as fair. It may not be exactly balanced because of my own views. But I wanted to make sure that the people we interviewed had their views expressed; that we treated them fairly."
"F**K" also has a playful side. The film features clever bridging sequences created by Academy Award-nominated animator Bill Plympton.
Anderson knows that "F**K" will be offensive to some people precisely because of its language.
"There is a lot of naughty language in the film," he acknowledges. But he hopes that if a viewer's watch with an open mind, they might be able to see it is an entertaining and insightful film.
"'F**k' is a taboo word. It's also a really funny word. People often laugh when you say it. It has to be the most adaptable word in the English language. It's also one of the most recognizable words around the world. Almost every nation uses the word 'F**k.' It's not that they have a word in their language that means 'F**k.' 'F**k' is universally recognized as the ultimate bad word. That's what's so intriguing about it. I think we hope to add to the understanding of it, having some fun with it. I'm sure a few people will be pissed off along the way. But as they say, if they can't take a joke, well. . ."