According to legend, it was a phone call from Nixon’s White House that made the movie disappear. After barely a week in theaters during August of 1972, Samuel Arkoff’s American International Pictures abruptly withdrew the raucous antiwar documentary “F.T.A.” from release. The official story from the studio was that Arkoff pulled the picture intending to rerelease it when colleges were back in session, while others blamed headlines surrounding the film’s star Jane Fonda, who had just returned from a trip to Hanoi where she’d blundered into an ill-advised photo op with an anti-aircraft gun. It was highly uncharacteristic of an exploitation mogul like Arkoff to take such a steep financial loss on any movie without first flogging it to death, but whatever the reason, “F.T.A” went MIA and wasn’t publicly screened again until 2009.
Better late than never, a new 4K restoration of the film starts streaming at the Brattle Theatre's virtual screening room — the Brattlite — this weekend, finally giving us a chance to see what all the fuss was about almost 50 years later. Directed by Francine Parker, the film chronicles the Pacific Rim stretch of Fonda and Donald Sutherland’s “Free The Army” tour, a musical comedy revue modeled on Bob Hope’s USO shows but with an antiwar agenda. The “Klute” co-stars had been travelling around the country performing at coffeehouses near army bases, meeting with GIs and area organizers. An early incarnation of the show had co-stars such as Peter Boyle, Elliott Gould and Howard Hesseman, but Fonda deemed the lineup too white and too male, and fully integrated the cast by the time they headed overseas.
Sutherland was already a counterculture hero in Army fatigues thanks to his loopy performances in “The Dirty Dozen” and “Kelly’s Heroes,” but it was playing the lecherous Captain “Hawkeye” Pierce in Robert Altman’s “M*A*S*H” the year before the tour that made him an icon of irreverence. Fonda had only recently shed her blonde sex kitten image and emerged as an actress of great substance in the aforementioned “Klute,” so a lot of audiences were surprised to see this mousy-haired brunette take the stage wearing jeans and no makeup when they’d been expecting Barbarella.
The tour’s title comes from a play on the old Army recruiting slogan, “Fun, Travel and Adventure,” an acronym adopted by a lot of GIs with a word up front that isn’t “free.” Like Bob Hope’s USO shows, it’s a mix of bawdy comedy sketches and vaudevillian song parodies, with a few serious speeches and folk tunes peppered amid the silliness. Honestly, the show seems like something that would be a lot of fun if you were in the room, but that energy doesn’t exactly translate to the screen. (Those Hope specials were also pretty dire, as I recall. I used to watch them on TV when I was a kid because I had a thing for Ann Jillian, and when my sister wanted to insult me she’d say, “You’re about as funny as Bob Hope,” which would have been a huge compliment in the 1940s.)
This is probably why the movie features relatively few clips of the actual performances, devoting most of its screen time instead to the enlisted men and women encountered by the cast during their stops in Hawaii, Japan and the Philippines. That’s where “F.T.A.” becomes a fascinating time capsule, allowing the soldiers to voice their frustrations with the war and other aspects of American imperialism. It’s tough not to notice a kind of cultural contamination in the areas immediately surrounding these bases, with brothels and bars designed to service servicemen, as neon Coca-Cola signs loom large over the farmlands. The people we meet are deeply disillusioned draftees in the midst of an incredibly unpopular war that just won’t seem to end no matter how many politicians say they want it over.
Watching the film today it’s shocking to hear soldiers speak out like this. After two decades of two wars I’m not sure anybody even knows why we’re fighting anymore, military message discipline remains on point, with the slightest criticism of overseas entanglements decried as being disrespectful to the troops. It’s astonishing to see so many of them with fists raised in solidarity at these shows, or to meet the brave men of the USS Coral Sea, a thousand of whom signed a petition protesting the Vietnam War. My ears bleed imagining how our conservative media would cover that story, or the consequences that would be incurred by any Hollywood celebrities who tried something like an “F.T.A.” tour today.
Of course, Fonda paid dearly over the years for her activism. As a kid I remember seeing bumper stickers that said: “Vietnam Vets Are Not Fonda Jane.” It’s curious that Sutherland never encountered similar blowback, but then again, I guess he never let himself be photographed sitting on an enemy’s anti-aircraft gun. Anyhow, it feels like popular culture, at least, has forgiven Fonda, considering the bevy of awards she’s been getting lately. (And who else would accept a BAFTA while getting arrested at a climate change protest?) “F.T.A.” is wildly uneven as a film, but in this age of performative social media echo chambers, it’s energizing to see these activists out there meeting with soldiers and citizens. Even more importantly, they're listening.
“F.T.A.” starts streaming at the Brattlite on Friday, March 5th.
“The Show the Pentagon Couldn’t Stop!” In 1971, at the height of the Vietnam War, Jane Fonda and Donald Sutherland toured an anti-war comedy show across Southeast Asia. It was directly engaged with and inspired by veterans against the war and, naturally, it upset U.S. military higher-ups. The F.T.A. tour was highly controversial and was a huge success among stationed soldiers. In spite of positive reviews and business, director Francine Parker’s film version was quickly taken out of circulation due to political pressures and has been difficult to see for decades.
“Funny, biting and tuneful, it takes you right back there if you lived through it, and might be an eye-opener for activist ‘Ok, Boomer’ millennials.” – Roger Moore, Movie Nation
Donald Sutherland, Jane Fonda
"A genuine, powerful and even stirring expression of the antipathy engendered by war... and scarred the psyches of those who lived through it."J. Hoberman, The New York Times
"Holds up as a terrifically funny movie. Nixon might be long dead, but if you want to sock it to him regardless, be sure to check this out."Dan Schindel, Hyperallergic
"Sounding out a once-elusive call of defiance for all to hear… [Fonda] and her comrades loved the country that they devoted their energies and risked their reputations to better it, their criticisms the ultimate act of patriotism."Charles Bramesco, The Guardian
“A vibrant artifact. The message of F.T.A. is still infuriatingly relevant. This new restoration connects the present to the past.”Nathan Smith, Nashville Scene
“A stunning portrait of an antiwar musical comedy revue that was a corrective to Bob Hope's
gung-ho UFO shows.”Louis Proyect, The Unrepentant Marxist
“Funny, biting and tuneful, it takes you right back there if you lived through it, and might be an eye-opener for activist ‘Ok, Boomer’ millennials.”Roger Moore, Movie Nation
“An important record showing the strength of the American people's opposition to the Vietnam War.”Jennifer Marin, About.com
"Brought together elements of the Old and New Lefts, radical politics and Hollywood celebrity, in an exceptional, and exceptionally powerful, way.”Excerpt from ‘Un-American’ Hollywood by Dr. Mark Shiel
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This documentary follows the 1972 tour of theatrical troupe Free Theater Associates as they perform in various locations around the Pacific Islands. Led by a handful of socially conscious performers that includes actors Jane Fonda and Donald Sutherland, comedian Paul Mooney and folksinger Len Chandler, the group collectively protests the Vietnam War via humorous skits, sing-alongs, dramatic readings and first-person testimonials from a number of military veterans.
‘F.T.A.’: When Jane Fonda Rocked the U.S. Army
A newly exhumed documentary delves into the actress’s anti-Vietnam vaudeville tour of American military bases in 1972.
“F.T.A.,” an agitprop rockumentary that ran for a week in July 1972, reappears as an exhumed relic, recording the joyfully scurrilous anti-Vietnam War vaudeville led by Jane Fonda that toured the towns outside American military bases in Hawaii, the Philippines and Japan.
The movie, directed by Francine Parker, who produced it along with Fonda and Donald Sutherland, opened the same day that Fonda’s trip to North Vietnam made news. The film, greeted with outrage and consigned to oblivion, has been restored by IndieCollect, and is enjoying a belated second (virtual) run.
The F.T.A. show was conceived as an alternative to Bob Hope’s gung-ho, blithely sexist U.S.O. tours; its initials stood for something ruder than “Free the Army.” The skits, evocative of the guerrilla street theater, ridiculed generals, mocked male chauvinism and celebrated insubordination. The show was hardly subtle, but, as documented in the movie, opinions expressed by various servicemen were no less blunt.
In interviews, Black marines characterized Vietnam as “a racist and genocidal war of aggression” and even white soldiers criticized the “imperialistic American government.” Half a century after it appeared, “F.T.A.” is a reminder of how deeply unpopular the Vietnam War was and how important disillusioned GIs were to the antiwar movement. “I was ‘silent majority’ until tonight,” one tells the camera after a performance.
Fonda may be the designated spokeswoman, but the show was largely devoid of star-ism. A shaggy-looking Sutherland, who had recently appeared with her in “Klute,” gets at least as much screen time. Two relative unknowns, the singer Rita Martinson and the poet (and proto-rapper) Pamela Donegan, have memorable solos performing their own material.
The hardest working individual was the Greenwich Village folk singer and civil rights activist Len Chandler, who assumed the Pete Seeger role of prompting the audience to sing along with compositions like “My Ass is Mine” and “I Will Not Bow Down to Genocide.” A younger folkie, Holly Near, was also on hand, hamming along with Fonda in a parody of “Carolina Morning” that began, “Nothing could be finer than to be in Indochina …”
Context is crucial. Vivian Gornick, who covered the tour for the Village Voice, reported that “the F.T.A. was surrounded, wherever it went, by agents of the C.I.D., the O.S.I., the C.I.A., the local police.” After military authorities became frightened, “‘riot conditions’ were declared.” Indeed, “F.T.A.” documents antiwar demonstrations staged by civilians in Okinawa and at Subic Bay in the Philippines. The latter was singled out in the New York Times critic Roger Greenspun’s review as the movie’s high point.
Greenspun thought “F.T.A.” failed to capture the spirit of the stage shows. Perhaps, but however chaotic and self-righteous, the movie is a genuine, powerful and even stirring expression of the antipathy engendered by a war that — as the author Thomas Powers recently wrote — “refused to be won, or lost, or understood” and scarred the psyches of those who lived through it.
Opens in virtual cinemas through Kino Marquee starting March 5.
Documentary about the 1971 anti-Vietnam War FTA Show
For other uses, see FTA (disambiguation).
F.T.A. is a 1972 Americandocumentary film starring Jane Fonda and Donald Sutherland and directed by Francine Parker, which follows a 1971 anti-Vietnam War road show for GI's, the FTA Show, as it stops in Hawaii, The Philippines, Okinawa, and Japan.: p.143 It includes highlights from the show, behind the scenes footage, local performers from the countries visited, and interviews and conversations with GIs "as they discuss what they saw in battle, their anger with the military bureaucracy, and their opposition to America's presence in Indochina." Called by Fonda "a spit and a prayer production" it was far from a big budget Hollywood movie, or even a well-funded documentary. While the movie "is raw," it "underscores how infectious the movement of the 60s and 70s was", and chronicles both the Tour itself as well as the soldiers who came to see it and "the local talent of organizers, labor unions and artist/activists" in the countries visited.
The FTA Show
Further information: FTA Show
The FTA Show, the overseas part of which the film documents, was created as a response to Bob Hope's patriotic and pro-war USO tour.
The Bob Hope show was becoming less and less of a hit with GIs and by 1970 both the NY Times and the Washington Post were taking note of U.S. troop "disillusionment with Hope’s humor and prowar message". Fonda told reporters that the FTA Show was inspired by “articles in the Washington Post and the New York Times about soldiers in Vietnam who were dissatisfied with the typical USO shows.” She told a reporter from the NY Times that the show would reinforce "what the soldiers already know. They know that the war is insane. They know what GIs have to contend with better than we do. We're simply saying, 'We know what you're up against and we support you.'"
The FTA Show's official statement of purpose was:
The G.I. movement exists on nearly every United States military installation around the world. It is made up of American servicemen and women who have come to realize that if there is to be an end to the U.S. military involvement in South East Asia — an end to the war — it is they who must end it.
In response to the invitation of servicemen and women within the G.I. movement we have formed the F.T.A. Show in order to support their fight to end discrimination against people because of race, sex, class, religion and personal or political belief.
The F.T.A. Show
The show first travelled around the continental U.S. performing for soldiers, sailors and marines at various military bases, including Fort Bragg, Fort Ord and the naval and marines bases in San Diego before departing for Hawaii and Asian U.S. bases
The documentary begins with a message in white letters against a black screen which states that it "was made in association with the servicewomen and men stationed on the United States bases of the Pacific Rim". The filmmakers want the viewer to know the film, and tour it documents, were done with GIs and they want the viewer to see the tour from a GIs point of view. The opening message then states the film is also done with the GIs friends "whose lands they presently occupy." So, even more unusually, the filmmakers want the viewer to watch from the perspective of the people in the countries occupied by U.S. military bases. As the film unfolds we see the both the FTA Tour itself and we see interviews with GIs and we see footage and interviews with their "friends", the local people in the countries visited. One author described this later element of the film as "explicit solidarity with the fight for economic and political rights by the ordinary peoples of the lands it visits.": p.220
For example, there is a sequence in Olongapo City, Philippines where the U.S. Naval Base at Subic Bay was located. There is footage of Filipino pro-democracy demonstrators "protesting against the U.S. government's desire to keep the Philippines in a perpetually 'semi-feudal' state. One demonstrator explicitly acknowledges a natural 'identity of interests' between Filipinos and the American GI against American imperialism." These demonstration scenes are interspersed with a "vaudeville skit on the FTA stage in which Jane Fonda and Holly Near dance à la Folies Bergère to the tune of Bomb Another City Today!: p.221
GIs speak out
To help the viewer understand the perspective of rank-and-file soldiers, the filmmakers interview active duty GIs. In fact, the film only focuses about half it's time on the tour itself, the rest is taken up with GI interviews and footage of local people and events. We see a marine explaining he is against the war and talking about writing home to tell his mother; "how can you write your mother and tell her?" he asks, but when he decides to do it he is pleasantly surprised to hear that "she fully understood and she was happy that I felt that way". A black GI complains that things are tough at home and asks "so why should we go over there and put our lives down?" Then a woman in the Air Force describes why she enlisted right after high school; "no job, no money... 'the Air Force came along and there I was.'": p.144 We also see several black marines talk about the racism in the military and at home and about "their reluctance to fight in Vietnam that arises from their sense of commonality with the Vietnamese as oppressed nonwhite peoples.": p.221
The FTA Song
Several of the tour's skits are interspersed with footage of the cast singing the show's theme song, The Lifer's Song (or The FTA Song). The song is an irreverent ditty written around the common troop expression FTA, which really meant "Fuck The Army" and which, in turn, was a play on the Army recruitment slogan "Fun, Travel and Adventure". During the Vietnam War, FTA was often scrawled on the side of walls and scratched onto bathroom stalls. The song tells the story of a pro-military "lifer" who is trying to figure out what FTA means. He hears it in "Leesville", "Waynesville", "Fayetteville", and "a Texas paradise called Killeen" - all towns with major military bases. Just "three little words" he complains, "but I can't find out what they mean." Is it "Future Teachers of American", "Free The Antarcticans", "Free The Army?" Help me, the singers appeal to the audience. On the tour, when the troupe came to the last line they always hesitated, encouraging the audience to supply the real meaning of FTA, which the GIs invariably did with a thundering "FUCK the Army". "Extra letters and words were added as needed, depending upon the composition of the audience. FTA would become 'FTAF' or 'FTN,' or 'FTM' — or all four at once, spelled out in a triumphant, expletive-filled list." In the film we see "the singers exaggeratedly trying to contain themselves" as they reach the first word in the last line. "[I]t seems the singers want the audience to understand that they really want to say 'Fuck the Army,' but they perform the pretense that they can’t quite or won’t, for whatever reason, bring themselves to do it the first time through. The second time, as they are making the long, drawn-out beginning of the word, Len Chandler turns and says quietly (but the mic picks it up) 'say it!' — and they do..., they shout 'Fuck the Army.'": pp.143 & 102
Reaching out to women GIs
During the later parts of the tour, which are those included in the film, new material was added into the show addressing other issues swirling in the political currents of the early 1970s, including women's issues, particularly as they confronted women in the military. One skit has a clearly pregnant soldier's wife being told by the military doctor to "go home and take two APCs [an aspirin compound] and come back when the swelling goes down."
Another example is the song Tired of Bastards Fucking Over Me written by Beverley Grant and sung by Fonda, Near, Martinson and Donegan. Sung to "an audience composed in large part of visiting enlisted women in the USAF", it describes experiences of everyday sexism from a woman's point of view, "with each brief narrative punctuated by a chorus":
Now I sing this song in the hope that you won't think it's a joke
cause it's time we all awoke to take a stand.
We've been victims all our lives, now it's time we organized
and to fight we're gonna need each other's hands.
They whistle like a dog and makes noises like a hog,
heaven knows they sure got problems I agree.
But their problems I can’t solve ‘cause my sanity’s involved,
and I’m tired of bastards fuckin’ over me: p.109
A professor of film described this combining of women's issues with GI antiwar sentiment, as positing "a total continuity...between a woman's right to control her body and that of a young male GI to refuse to give his body in a futile war.": p.122
When these feminist elements were combined with the multi-racial cast and anti-racist message, the tour and film "stood in sharp contrast to Bob Hope’s show. Whereas Hope made racist jokes, FTA embraced racial equality and took seriously the grievances of non-whites. While Hope joked about sexual assault and unapologetically objectified the women in his cast, FTA endorsed women’s liberation and featured women as full participants in the show — without forcing them to don sexually provocative clothing."
Various sketches or skits from the show are shown throughout the film. Many of them reflected the common dislike of enlisted soldiers for their officers and non-commissioned officers, which became particularly sharp during the Vietnam War. In one sketch a Sergeant (played by Michael Alaimo) tells a soldier, "I think I’m gonna get me a watchdog." "What do you need a watchdog for, Sarge?" replies the GI, "You’re surrounded by two hundred armed men." “That’s why I’m gonna get me a watchdog," says the Sarge.: p.73
In Okinawa, we see a performance by a group of Okinawan musicians who have joined the show. The lyrics of their songs (shown in subtitles) "are sharply critical of U.S. presence on the island. The singers stand straight at the microphones, their eyes closed. At the song’s conclusion the audience instantly roars with applause.": p.126
Pro-Vietnam War hecklers
There is a particularly interesting confrontation shown in the film that occurred the night they performed just outside Yokosuka Naval Base in Japan. There was, according to spokesperson Steve Jaffe, "an audience of nearly 1,400 included some 500 GIs." Some pro-Vietnam War hecklers tried to disrupt the show and were quoted as saying "they liked to go to Vietnam to kill people because they made $65 extra a month in combat pay." In the film, you can see other members of the audience begin to heckle the hecklers and then Donald Sutherland speaks to the crowd, "If you want them to leave, would you tell them?" The audience erupted in "noisy agreement" while a number of sailors from the USS Oklahoma City "slowly but surely, confidently but peacefully" escort the hecklers out of the auditorium while Len Chandler leads the crowd in shouting “Out! Out! Out!”: p.157 There has been some speculation that the pro-war hecklers were "undercover agents and provocateurs", which was not an uncommon tactic used by police agencies during the Vietnam War era, but no proof has emerged either way.: pp.169-70
Donald Sutherland reads Johnny Got His Gun
The film ends with Donald Sutherland reading from Dalton Trumbo’s 1938 novel Johnny Got His Gun:
Remember this well you people who plan for war. Remember this you patriots, you fierce ones, you spawners of hate, you inventors of slogans. Remember this as you have never remembered anything else in your lives. We are men of peace, we are men who work and we want no quarrel. But if you destroy our peace, if you take away our work, if you try to range us one against the other, we will know what to do. If you tell us to make the world safe for democracy we will take you seriously and by god and by Christ we will make it so. We will use the guns you force upon us, we will use them to defend our very lives, and the menace to our lives does not lie on the other side of a nomansland that was set apart without our consent it lies within our own boundaries here and now we have seen it and we know it.
Film's release and controversy
F.T.A. was released in July 1972, "within days of Fonda’s infamous visit to Hanoi", and seems to have suffered from the political fallout of Fonda's travels. The film "was in theatres barely a week before it was pulled from circulation by its distributor, American International Pictures." Even more, "[m]ost copies were destroyed", which seems to indicate an attempt to prevent any future for the film. Many have suspected the film's disappearance "was the result of government intervention." According to Parker, the film's director, "the film disappeared after Sam Arkoff, head of AIP, received a call from the White House." David Zeiger, who has been involved in resurrecting the original film, has been quoted as saying he believes Parker. "There's no proof, but I can't think of another reasonable explanation for Sam Arkoff, a man who knew how to wring every penny out of a film, yanking one starring Jane Fonda and Donald Sutherland from theaters at a big loss (and, apparently, destroying all of the prints, since none were ever found).": pp.131-2
Remastering and release
In 2009, David Zeiger, the director of Sir! No Sir!, a film about the GI resistance to the Vietnam War, finished resurrecting the original F.T.A. film. It was shown publicly in Los Angeles in early 2009 at the American Cinematheque with a panel that included two of the original performers in the show. It was also shown at the IFC Center in New York City and had its broadcast premiere on the Sundance Channel on February 23, 2009.
Footage from the film and discussion of the FTA Show is included in Zeiger's 2005 documentary film Sir! No Sir!.
In February 2021, Kino Lorber acquired distribution rights to the film, and set it for a March 5, 2021, release in virtual cinema.
On Rotten Tomatoes, the film has an approval rating of 82% based on reviews from 11 critics, with an average rating of 7.40/10. "According to a Washington Post reviewer who attended a screening of the film, the black humor in F.T.A. had Vietnam veterans 'laughing harder than anyone.'" Dr. Mark Shiel, Lecturer in Film Studies at King's College London, commented in a 2007 essay that the film "brought together elements of the Old and New Lefts, radical politics and Hollywood celebrity, in an exceptional, and exceptionally powerful, way.": p.216 The NY Times reviewer said the show itself "must have been very funny", but felt "as presented in the movie, most of the show doesn't seem very funny". He did describe, however, a "striking sequence" when "an anti-American guerrilla theater pageant in the Philippines...momentarily turns revolutionary passion into a romantic gesture of extraordinary beauty." He also praises the "lovely ballad singing of Rita Martinson." A Los Angeles Times reviewer, after viewing the 2009 remastered version, described the show as a "fascinating documentary" that "mixes protest songs with broad and bawdy skits, taking potshots at military chauvinism and top-brass privilege." He concluded, "what it lacks in finesse, it makes up for with a raucous energy."The Harvard Crimson described the film as "bouncing through satiric routines on the bungling authority that got us involved in Vietnam." The reviewer also felt the "routines and the film anticipate that a certain set of opinions will be held by the audience, that the young military people and the young movie-goer will share its anti-military, anti-Vietnam [War] position."Michael Atkinson, writing on IFC.com, called the film "a document of disarming anti-authoritarian nerve" and says "the spirit of the thing is infectious and energizing". He also notes that the "film is, in any case, remarkable for how little it is known and how rarely it’s been seen".
- Concerned Officers Movement, officers group opposed to the Vietnam War
- Court-martial of Howard Levy, early resister to the Vietnam War
- Donald W. Duncan, Master Sergeant U.S. Army Special Forces early register to the Vietnam War
- Fort Hood Three, three early resisters to the Vietnam War
- GI Coffeehouses, antiwar coffeehouses near U.S. military bases
- GI Underground Press
- GI's Against Fascism, early group of Navy resisters to the Vietnam War
- List of American films of 1972
- Movement for a Democratic Military
- Opposition to United States involvement in the Vietnam War
- Presidio mutiny, 27 soldiers refused to participate in the military and the war
- Sir! No Sir!, a documentary about the anti-war movement within the ranks of the United States Armed Forces
- Stop Our Ship (SOS) anti-Vietnam War movement in and around the U.S. Navy
- Vietnam Veterans Against the War
- Waging Peace in Vietnam
- Winter Soldier Investigation, investigation of war crimes in the Vietnam War
- ^ abGreenspun, Roger (July 22, 1972). "FTA (1972) Jane Fonda's 'F.T.A.' Show Now a Film". The New York Times.
- ^ abcdefghiGoss, Lindsay Evan (2014). Entertaining the Movement: Jane Fonda, GI Resistance, and the FTA (PhD). Brown University. Retrieved 2020-05-01.
- ^Deminy, Mark. "F.T.A Synopsis". AllMovie.
- ^Andrew, Penelope (2011-05-25). "Fonda, Sutherland, Streep Echo Trumbo & Brecht: FTA (1972) and Theater of War (2008)". Huff Post.
- ^"Jane Fonda F.T.A. February 15, 2020". February 17, 2020 – via YouTube.
- ^ abcKing, Sarah (2020). "Free The Army". U.S. History Scene. Retrieved 2020-04-25.
- ^"Libertated Barracks: FTA Show". GI Press Collection. Wisconsin Historical Society. November 1971. Retrieved 2020-05-06.
- ^Kent, Leticia (1971-03-21). "It's Not Just 'Fonda and Company'". The New York Times.
- ^ abcdeShiel, Mark (2007). "Hollywood, the New Left, and FTA". In Krutnik, Frank; Neale, Steve; Neve, Brian; Stanfield, Peter (eds.). 'Un-American' Hollywood: Politics and Film in the Blacklist Era. Chicago, IL: Rutgers University Press (published 2007-12-27). ISBN .
- ^Dalzell, Tom, ed. (2009). The Routledge Dictionary of Modern American Slang and Unconventional English. Abingdon, United Kingdom: Routledge (published 2018-05-08). ISBN .
- ^Gardner, Fred (1991). "Hollywood Confidential: Part II". The Sixties Project: Viet Nam Generation Journal. Institute for Advanced Technology in the Humanities, University of Virginia at Charlottesville. Retrieved 2020-04-25.
- ^Grant, Bev. "Bev Grant: My Story". Smithsonian Folkways Magazine.
- ^"Cry Out: FTA Hits Asian Bases". GI Press Collection. Wisconsin Historical Society. January 1972. Retrieved 2020-05-04.
- ^"'F*CK THE ARMY': WHEN JANE FONDA AND DONALD SUTHERLAND TOURED THEIR ANTI-VIETNAM WAR SHOW, 1972". Dangerous Minds. 2019-03-12.
- ^"FTA & Sir! No Sir! Official Website". Retrieved 25 Jan 2010.
- ^ abLim, Dennis (2009-02-22). "Fonda's antiwar years are being lived anew". Los Angeles Times.
- ^Raup, Jordan (February 10, 2021). "Jane Fonda & Donald Sutherland Deliver Anti-Vietnam War Comedy in Exclusive Trailer for New Restoration of F.T.A."The Film Stage. Retrieved February 17, 2021.
- ^"F.T.A."rottentomatoes.com. Retrieved 2021-03-05.
- ^King, Sarah (2011). "IV"(PDF). Jane Fonda's Antiwar Activism and The Myth of Hanoi Jane (MA). University of Waterloo. Retrieved 2020-05-14.
- ^Levine, Barry (1972-08-01). ""Fuck the Army"". The Harvard Crimson.
- ^Atkinson, Michael (2009). "The Return of Jane Fonda's long-M.I.A. "F.T.A."". IFC.com. IFC. Retrieved 2020-05-18.
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He said meekly. It was useless to ask him the avalanche of questions. What time will he be home. Why didn't he call earlier.