The campfire scene is described as the “heart and soul” of the movie. But most people who watch it would describe it as the colon.
Kristoffer: ... And know this, as the swallow twittered beneath the eaves, this is not adieu, but au revoir!
Finur: Thanks for your words. May they be your last. Thanks for sentimentality so nauseating that no living creature could possibly take it seriously.
Ravn: ... *SOB!*
Radio Flyer pushes so many buttons I almost wanted to start pushing back. One of the things I resisted was the movie's almost dog-like desire to please. It seems to be asking, how can anyone dislike a movie that is against child abuse, and believes little red wagons can fly? I found it fairly easy. The movie pushes so many fundamental questions under the rug of its convenient screenplay that the happy ending seems like cheating, if not like fraud.
I would always read about filmmaking in the 70′s and the various New Waves and about how they were rebelling against the old Hollywood. I would read that, but I don’t think I fully understood until I finally saw Hello, Dolly! This is the most phoney movie I have seen in a long long time. Everything about this movie is fake and false. There are no genuine emotions, only people badly acting emotions. Like a defective stepford wife, they portray creepy toothy grins that show more an alien understanding of happiness than anything real. The characters talk and talk and talk and talk and talk over the most useless crap. Much like Ichi the Killer, I felt like sticking pins in my ears to make the pain go away. This is like four hours of Three's Company crammed into a two and a half hour movie; its too much crap crammed in too long a run time for a movie.
Had this not coincided with the suspension crisis so perfectly, of course, it would just be a slightly embarrassing curiosity. But instead it comes when the series is in obvious crisis, in the midst of an extended attack on itself, and, let's be honest, not very good. So for it to come prancing out saying "oh look, aren't I a good little iconic part of children's culture" just leaves everyone wanting to slap it in the face and say "no, you're bloody well not, you're utter crap."
Lois: "Kids, we just have to learn to accept this. Like one of those stories on Dateline, where a family member suffers a horrible accident and becomes a burden on everybody. Sure, they pretend to be happy, but they're dead inside. They're dead. And that'll be our lives."