Community Solidarity Sustains Resistance More Than Violence
TL;DR
- The film posits that organized, collective resistance, exemplified by the French 75, is a potent force absent in contemporary U.S. political violence, which is largely individualized.
- Paul Thomas Anderson masterfully balances farce, melodrama, and political thriller tones, allowing menacing characters like Colonel Lockjaw to be simultaneously clownish and genuinely frightening.
- The movie critiques the left by depicting its self-consciousness and self-aggrandizing elements, yet also highlights the beauty and inspiration found in radical commitment and solidarity.
- The film suggests that true community and resistance stem from quotidian acts of solidarity and deep neighborly love, contrasting with abstract revolutionary ideals.
- White supremacist groups like the Christmas Adventurers Club are portrayed as both dangerous and absurd, driven by a desire for racial purity and a fear of miscegenation.
- The narrative explores the complexities of family and identity, suggesting that chosen bonds and community support can be more significant than biological ties.
- The film critiques the superficiality of right-wing politics, contrasting the desire for power with the genuine communal bonds that fuel effective resistance and love.
Deep Dive
Paul Thomas Anderson's film "One Battle After Another" offers a nuanced exploration of left-wing revolutionary politics and their enduring, albeit complex, legacy in a plausible near-future America. The film masterfully balances elements of farce, melodrama, and political thriller, examining the tension between abstract revolutionary ideals and the tangible, everyday acts of community solidarity that sustain resistance. This nuanced portrayal suggests that while organized militant action may be rare, the foundational human impulses for mutual aid and collective care are the true engines of meaningful political change.
The film's narrative, loosely based on Thomas Pynchon's "Vineland," depicts a society grappling with the hangover of revolutionary activity, where federal power operates with unchecked militarization and white supremacist ideologies subtly influence state apparatuses. The protagonists, former revolutionaries now in hiding, represent a spectrum of the left: the disillusioned, paranoid stoner father, Bob, and his capable, resourceful daughter, Willa. Their struggle for survival against a determined, ideologically driven antagonist, Colonel Lockjaw, highlights the film's central argument: true political efficacy lies not in grand gestures of violence but in the quiet, persistent work of building and maintaining community bonds. This is exemplified by the sanctuary city residents who, through acts of profound neighborliness and interdependence, provide refuge and support, illustrating that resistance is fundamentally about love and care for one's own.
"One Battle After Another" critiques the more performative or self-aggrandizing aspects of radicalism, particularly through early scenes of the French 75 cell and later through Bob's own confused revolutionary pronouncements. However, it avoids outright condemnation, instead suggesting that these elements are often intertwined with genuine commitment, even in failure. The film posits that the most potent form of left-wing action is not the dramatic, often isolated, acts of violence seen in the prologue, but the quotidian acts of solidarity among ordinary people, particularly undocumented immigrants. This communal resilience, rooted in deep love and mutual reliance, stands in stark contrast to the power-obsessed, ideologically hollow pursuits of the film's antagonists, like the white supremacist "Christmas Adventurers Club." Ultimately, the film suggests that while the desire for power may be perpetual, the enduring strength of human connection and communal obligation offers a more profound and sustainable path toward a just society.
Action Items
- Track 3-5 instances of "revolutionary fetishism" within the film's dialogue and character actions to analyze the portrayal of leftist ideals.
- Analyze 2-3 scenes depicting community solidarity (e.g., undocumented families, convent) to identify the film's core message on collective action.
- Evaluate the film's depiction of state power by examining 5-7 instances of federal or DHS actions to understand its commentary on contemporary government overreach.
- Measure the impact of specific visual language (e.g., convent, church sanctuary) on conveying themes of refuge and resistance across 3-4 key sequences.
- Audit 2-3 instances of humor or farce juxtaposed with violence to assess the film's tonal management and its effectiveness in portraying complex political themes.
Key Quotes
"You are: A curator presenting selected highlights with brief notes. You are NOT: An essayist synthesizing material into coherent analysis. Present separate pieces that each stand alone. Stop building cumulative arguments."
This quote establishes the core directive for the response: to act as a curator by presenting distinct, self-contained quotes with minimal interpretation, rather than synthesizing a continuous narrative or argument. The emphasis is on presenting evidence first and foremost.
"This is a movie episode and we will be discussing the 2025 film by Paul Thomas Anderson, One Battle After Another. This is Bob Ferguson. I was a part of the French 75. The dog just attacked my home and I cannot remember for the life of my only child the answer to your question. Maybe you should have studied the rebellion text a little harder. I need to find my daughter."
This quote introduces the film being discussed and immediately presents a character's dialogue that hints at themes of revolutionary activity, personal loss, and the difficulty of remembering crucial information within a chaotic context. The dialogue suggests a narrative where personal stakes are intertwined with larger political struggles.
"The French 75 from that point undertake a series of attacks, bombings of federal buildings, threats against anti-abortion politicians, and a successful attack on the power grid of a major city."
This quote details the actions of a revolutionary group within the film, outlining a pattern of escalating political violence. The description of their targets--federal buildings, politicians, and infrastructure--highlights the film's engagement with themes of political insurgency and its impact on society.
"The movie does a good job of being like, there's every reason for them to be incredibly cautious. I mean, like, there are militants running around killing people. Oh, Bob is being totally irresponsible. Bob is being totally irresponsible. So it's not at all like, oh, this is so stupid. It's kind of like, yeah, this is absurd, but also not unwarranted."
This quote from one of the podcast hosts reflects on the film's portrayal of the left, acknowledging the absurdity of certain revolutionary behaviors while also validating the underlying reasons for caution and action. The host suggests that the film balances critique with an understanding of the context that might lead to such actions.
"The white supremacy in this film. Since we mentioned Colonel Lockjaw, we won't, you know, necessarily reveal his fate, but he's approached about possibly joining the Christmas Adventurers Club, which is a white supremacist business people kind of secret society."
This quote introduces a specific element of the film's depiction of the right: a white supremacist secret society. The mention of the "Christmas Adventurers Club" and its connection to Colonel Lockjaw signals a thematic exploration of organized racism and its influence within the narrative.
"The core to me of the film is the sequence when we have Bob on the run trying to escape, and it is very much his story. It's him and his daughter, and in the background, seeing the incredible sort of, you know, quotidian organization among the undocumented as Leo is going about his manic escape. You see them going through these incredibly well-planned out, but also not like hyper-dramatized, just, 'Hey, look at all these children and families, we keep each other safe, we plan for this, we're all in this together.'"
This quote highlights a pivotal aspect of the film's narrative, contrasting the individual struggle of a character with the collective, organized efforts of a community. The speaker emphasizes the "quotidian organization" and mutual support within the undocumented community as a central theme, suggesting it represents a form of resistance rooted in solidarity.
Resources
External Resources
Books
- "Vineland" by Thomas Pynchon - Loosely serves as the basis for the film "One Battle After Another," sharing themes of the hangover from revolutionary activity.
Articles & Papers
- "The Revolution Will Not Be Televised" by Gil Scott Heron - Portions of this work are used as a code phrase to identify comrades within the resistance movement in the film.
People
- Thomas Hobbes - Quoted for his concept of "perpetual and restless desire of power after power" from his work Leviathan, contrasting with the film's depiction of community resistance.
- Joan Didion - Mentioned in relation to her essay "The White Album" and the Reagan mansion in Sacramento, which was used as a filming location for the Christmas Adventurers Club scenes.
- Henry Adams - Quoted for his observation that "politics is the organization of hatreds."
Organizations & Institutions
- SDS (Students for a Democratic Society) - The newspaper where a statement from the Weather Underground, which inspired the film's title, was published.
- Weather Underground - Issued a statement in October 1969 that inspired the film's title and contained lines spoken in the film.
- French 75 - An armed revolutionary cell depicted in the film.
- ICE (Immigration and Customs Enforcement) - Referenced as a parallel to the federal government's actions in the film, such as raids and detentions.
- DHS (Department of Homeland Security) - Operatives are mentioned as analogous to the federal government's enforcement actions in the film.
- Christmas Adventurers Club - A white supremacist secret society depicted in the film.
- Reagan's Kitchen Cabinet - A group of businessmen who supported Ronald Reagan, drawing a parallel to the older white businessmen in the film.
- Carnation Breakfast - Mentioned in the context of a Mad Men episode discussing reactionary businessmen in California.
- The 1776 Group - A militia group depicted in the film.
Websites & Online Resources
- Patreon (patreon.com/knowyourenemy) - Mentioned as a platform for subscribing to the podcast and accessing bonus content.
- New York Magazine - Sam Bell's writing is published here.
Other Resources
- Vistavision - A film technology used to shoot "One Battle After Another," previously used in films like To Catch a Thief, Vertigo, and The Searchers.
- The Revolution Will Not Be Televised - A work by Gil Scott Heron, portions of which are used as a code phrase within the film's resistance movement.
- Leviathan - Thomas Hobbes's work, from which a quote about the desire for power is used.
- The White Album - An essay by Joan Didion, referenced in relation to the Reagan mansion filming location.
- The Company You Keep - A Robert Redford film discussed as a comparison to "One Battle After Another" in its depiction of former militants.
- Night and Day - A film by Ari Aster discussed as a contrast to "One Battle After Another," particularly regarding themes of family and violence.
- The Battle of Algiers - A film watched by the character Bob, mentioned in the context of leftist organizing.