By The question had never occurred to me. But then again, I grew up about as far away from Kansas as some of you register on the political spectrum. What changed in the heart of Kansas—a state this film shows to have had radical and liberal ambitions—to secure its dedication to the right so resolutely? The answers may not be loud and clear, but they are communicated in understated ways. After thinking on this, I decided that this is a strength of the film, not a weakness. What’s the Matter with Kansas? is Joe Winston and Laura Cohen’s even-handed, if romantic take on Thomas Frank’s 2004 nonfiction bestseller. Read my thoughts on the film after the break.
The question had never occurred to me. But then again, I grew up about as far away from Kansas as some of you register on the political spectrum. What changed in the heart of Kansas—a state this film shows to have had radical and liberal ambitions—to secure its dedication to the right so resolutely? The answers may not be loud and clear, but they are communicated in understated ways. After thinking on this, I decided that this is a strength of the film, not a weakness. What’s the Matter with Kansas? is Joe Winston and Laura Cohen’s even-handed, if romantic take on Thomas Frank’s 2004 nonfiction bestseller. Read my thoughts on the film after the break.
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Frank delivers some of the structure of the film, telling the camera about his own political history as a Kansan—growing up a Republican within the state climate, but discovering his Democratic leanings as he pursued his career as historian and journalist. The film occasionally follows Frank down memory lane, to Kansas’s Democratic origin, and to the failing main streets of this mostly working class community. Winston and Cohen otherwise let the story tell itself through the stories of a small sample of Kansans. The directors’s presence is only truly felt in the beautiful photography of the Kansan landscape.
The documentary opens with lingering shots of farmland, pick-up trucks, and the American flag. Kansas is at once the microcosm of working class America, left behind by increasingly globalized business, and notable for its steadfast Republican populism. With the rise of the Tea Party movement, the essence of which can be found in the film, conservative populism today is a presence felt from sea to shining sea. If one watches Rachel Grady and Heidi Ewing’s Jesus Camp, another documentary treating the intersection of conservative religiosity and politics, you are driven to fear the right. Winston and Cohen treat the subject from a far less critical standpoint which, though it may belie the potency of the Christian conservative movement, allows the audience to think for themselves on the highly contentious issues.
Despite the film’s subtleties, it’s still very clear what separates conservative Kansans from the Democratic majority in America. Republicans won Kansas on issues of family values, which almost exclusively translates to anti-abortion and anti-gay rights sentiments. Frank’s thesis is that Kansans respond wholeheartedly to these emotional and moral appeals, without considering the impact of Conservative economic policies on the life ways they hold dear. It’s acknowledged by several Republicans that they feel misrepresented regarding the Iraq War and anti-protectionism, but most remain loyal.
Adding to the easygoing charm of the documentary is the benign manner in which the film’s far right subjects discuss their grievances. Archival footage may tell a different story, but the Dillards and Bardens read as peaceable people who believe in their cause, upholding the union of church and state they see pervading the first two hundred years of America’s existence. It’s hard to disagree that America was founded as a Christian nation with a Judeo-Christian penal code, however, the hypocrisy of slavery and other such injustices are hardly factored in. Ironically, Kansas’s progressive past is shed to accommodate the fundamentalist mindframe: from it’s inception as a free state of the Union in 1854, to publishing the most popular Socialist newspaper of the early 20th century, and even a recent history of electing Democratic congressmen (e.g., Dan Glickman: 1977-1995).
While focusing on absurd scenarios, like the church services held at an Old West theme park, or the Barden family trip to the biblical Creation Museum, Winston and Cohen resist the temptation to guide our thoughts and feelings in a particular direction. If any judgement is passed, it is on the Republican party itself, which continues to gain votes with rhetoric that it doesn’t intend to back up with time or money. Highlights of the film include interviews with the rascally artist, M.T. Liggett, who will prove your assumptions wrong within 20 seconds of opening his mouth, and Kansas Farmer’s Union president, Donn Teske (pictured). Both men show that you can’t judge a man by his overalls; nor can you judge Kansas solely by its recent Republican history. Unfortunately, in politics, nothing would be accomplished if we agreed to disagree. By asking us to listen instead of drawing a line, Winston and Cohen make it a little easier to understand those disagreements at their core.
Overall Score: 7.75 – Good. (7s are good, but not great. These films often have a stereotypical plot or are great movies that have a few minor flaws. Fans of this movie’s genre might love it, but others will still enjoy seeing it in theaters.)
