Multiple Maniacs  "Rejoice, rejoice, we have no choice":
D’Onofrio with fellow life-actors in Steal This Movie! photo:
David Milne  The much maligned "Sixties" refer less to a precise
decade than to a chunk of time lasting a dozen years or so when,
for a host of reasons ranging from the threat of World War III
to the saturation of TV to the proliferation of LSD, it seemed
as though America's social and psychic reality was up for grabs.
At least, that was the fantasy. The hapless Abbie Hoffman biopic
Steal This Movie! attempts to depict this heady moment, just as
John Waters's infinitely cannier, if only marginally more
successful, Cecil B. DeMented allegorizes it. Waters grasps the
essential dilemma. The '60s resist filmic representation in part
because of the era's delusional quality—more than a few who
lived through it imagined themselves the protagonists, or the
directors, of an ongoing movie.  It's this impulse that Waters
celebrates in Cecil B. DeMented—a satire of his own early movies
like Multiple Man