Wow!! To my taste this is far funnier and less campy than Dr Strangelove. Talk about the arid intellectual- Dr. Strangelove pulls his punches and spoons-out his laughs. Mr. Freedom has the bold "logo-rhhea" power to come out and blame The Reds *AND* The Blacks for all his troubles- Not fun or funny? Maybe Kubrick makes better 'cinema'- or maybe he's just lingering over mild material. Klein is committed, overt; profoundly radical. I've seen nothing like this script, but overall- especially the direction, invention & conviction- it reminds me of "The Adventures of Buckaroo Banzai: Across the 8th Dimension". Except where Americans describe Buckaroo as "agreeably insane", Mr. Freedom comes from some different country. OTOH- None of these films depend on any nuance. It is probable that the first 40 minutes are the most astounding of Mr. Freedom's bizarrely breathless life. After that we're asked to buy into the TV-Batman premise; then we proceed along an escalating series of staged confrontations- offering no development 'per se', but plentiful poignant wordplay. Whole pages of the script are totally "quotable", but possibly poisoned. So if one isn't angered by our corporate-imperialist history in Europe (i.e., the Cold War ('Red Chinaman', 'Mr. Moujik' ('peasant' in Russian)), the 1960's Marseilles underground (represented as Mafia lowlife "Mr. Drugstore" (Turk Sweet, anyone?))) & some very similar Euro-Colonialist history - then yeah, it'll all sound 'stupid'. Well the fun here is part surreal/comics- but it's *All* satirical- i.e., depends on deeper connections. And "literate" is Problem #1 for USA-educated, Depression-Generation video-gamers. A grounding in international politics just won't match the power-fantasies of Fox-TV Gulf-war coverage for jingoistic thrill-kills/per-minute. But anyone who reads to stay awake should appreciate Director William Klein's ambitious coup. Anyone ready for 'System of a Down' or 'Rage Against the Machine' etc. should score (& another historic value IS the scrappy score by Serge Gainsborough (also seen at the piano)). Vive the French Anti-Freedom League! Vive Paris 1968!

This isn't a exactly a masterpiece, but a very brave and very funny look at American imperialism by-way of our consumerism, our over-consumption, our super-patriotism, our racism, and our basic stupidity as a nation.But since postmodernism is thankfully dead as an intellectual fad (the public never cared about it anyway), and because history has reared its ugly head again showing that American power has its vulnerabilities, this film has become very timely, and is definitely prescient in its criticisms of American culture and economy. That doesn't mean it's supposed to be entertaining, but far be it from us Americans to understand the difference.What's really boring is how whenever someone has the "temerity" to criticize American foreign policy, they're somehow being "pedantic" and "preachy," while the excesses of our corporate owned media get a free pass. It's a hollow argument whose lies are showing, and we've got a lot of criticism coming-our-way these days, even from our "allies" in the EU. We've earned it.Ken Russell is much better at this kind of comic book approach to satire--he's funnier. If Klein fails--which he sometimes does in Mr. Freedom--it's only because the subject matter isn't funny. America is a real horror, just as it was in the late-1960s, with more fun to come. What makes Mr. Freedom so great is how beautiful it looks, which should come as no surprise considering its source. Klein was a very successful fashion photographer for American Vogue during the 1950s-60s.Eventually, he grew tired and disgusted with the direction the country was taking at that time and left for France. Who can blame an intelligent man with a clue? If you can do it, then-by-all-means, do it. You couldn't make a movie like Mr. Freedom in America then, or now, and that's the real courage behind it. It was a labor of love and principle, a rarity in cinema.Most chilling is the slaughter of a poor Black family by Mr. Freedom in the beginning prologue. That he wears a cowboy hat, uses violence to get his way, that he eats excessively, that he's intolerant of the views of others, all speaks volumes of what America is really about, and that's criminality.

Good satire keeps you focused on the film ... cf. Dr. Strangelove which is as strongly critical of America as any of Klein's films, but it's a classic in the US. Everyone has seen it. Klein's films are intended to be harshly critical of the US as well, but they are so amateurish in their execution and pedantic in their dialog that I actually fell asleep during two of his films. Robert Mitchum was once described as having 'a crushing touch in an eggshell comedy'. This is no such comedy, but Klein does have the 'crushing touch' down to a fine science. This skill extends to Who Are You Polly Maggoo? which is part of the set issued by Criterion in the Eclipse series.

An irreverent look at US nationalism, imperialism and "red panic" .A little redundant, and outstays its welcome after a while - but an enjoyable flick, after all. Less humane than other of his movies, notably the wonderful documentary on Muhammad Ali. Great cameo roles by Philippe Noiret, and the remarkable Yves Montand as a corpse. America needs more William Kleins.