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Plain Talk is a complex essay-film, a follow-up a decade and some years later to Speaking Directly, and so another State of the Nation discourse, made for Britain's Channel Four in the year 1986-87. The work involved extensive travel around the United States, and poses an examination of just what America is/was, or what do we mean when we speak of it. Done in a series of radically different sections which collide with each other in a manner intended to provoke thinking, Plain Talk, which was made by an American and intended for American viewers, was indeed broadcast in Britain, but somewhat predictably, not in the USA.
wherever we are, the heart of the country lies not over there or in some imposing symbol or in the stars and stripes. no, rather the heart of the country lies in ourselves, each of us, in what we really do.
the essay which you have just seen was knowingly and willfully artful.
snake oil is as american as apple pie.
film as snake oil. film as poetry. film as love. film as hate.
Jost gets America, better than any other filmmaker.
The film essay, as opposed to the documentary, remains in some respects the most neglected of contemporary film genres, by filmmakers and audiences alike, perhaps because it is seldom acknowledged as a film form at all. The only recent mainstream examples that come to mind are the first two parts of Godfrey Reggio’s trilogy, KOYAANISQATSI (1983) and POWAQQATSI (1988). As an English reviewer remarked of KOYAANISQATSI — a film that, incidentally, owed most of its exposure to Francis Ford Coppola’s distribution — “Its vainglorious appeal as a ‘new cinematic experience’ is really to an audience that would rather be open-mouthed than open-minded.” I found its glib borrowings from the avant-garde so irritating that I had no sense of regret about…
Jon Jost’s 1988 essay film, also known as Plain Talk & Common Sense, is in effect his state-of-the-union address, shot largely during a drive across the country and back, and articulated through an impressive variety of means. Overall the message is pessimistic but honestly and meticulously arrived at, and the Whitman-esque rhetoric of America’s multiplicity is both used and critiqued in a highly original fashion. This sequel of sorts to Jost’s groundbreaking SPEAKING DIRECTLY lives up to its predecessor as a multifaceted self-portrait and as a highly nuanced political statement. Even if you don’t agree with what Jost has to say about the U.S. in the 80s, there’s a lot to chew on; the film offers a veritable workshop of ideas about filmmaking as well as precise applications of these ideas.
