The Weather Underground (2003)

Chris Elliot

Gaining resonance with today's 'war on terror,' The Weather Underground, recalls another unsettled social scene, during another unsettled period.

The Weather Underground

Director: Bill Siegel
Cast: Bernadine Dohrn, Bill Ayers, Mark Rudd, Todd Gitlin, Brian Flanagan, Don Strickland, Lili Taylor, Laura Whitehorn, Kathleen Cleaver
MPAA rating: Not Rated
Studio: Shadow Distribution
Display Artist: Sam Green, Bill Siegel
First date: 2003
US DVD Release Date: 2004-05-25
With the right kind of eyes you can almost see the high-water mark -- that place where the wave finally broke and rolled back.
-- Hunter S. Thompson, Fear and Loathing in Las Vegas

All that seemed clear was that at some point we had aborted ourselves and butchered the job.
-- Joan Didion, Slouching Towards Bethlehem

Terrorism is premised on a proto-theological ideology. Its zealousness trades gray areas for the clarity of "the Movement," be it Marxism, Islamofascism, or the "rule of law." The fervor of its followers lays the groundwork for suicide bombings and torture at Abu Ghraib.

Gaining resonance with today's "war on terror," Sam Green and Bill Siegel's documentary, The Weather Underground, recalls another unsettled social scene, during another unsettled period, the U.S. during the late 1960s and the 1970s. Working in tightly constructed cells, dispersed around the country, the Weathermen employed strategically targeted violence in an effort, in their words, to overthrow the U.S. government.

Green and Siegel's film combines period footage and present-day interviews with a variety of members of the Weather Underground, in order to plot their pre-Weather days within the Students for Democratic Society (SDS), their subsequent disaffection and militancy, and the history of bombings and political pronouncements that characterized their activities in the '70s, managing to elude the FBI for over a decade. Rather than focusing on their most notorious exploits -- bombing the Capitol Building, busting Timothy Leary out of jail -- the film is concerned with tensions between their political goals and their private lives as fugitives. As Bernadine Dorn puts it, "Underground is a state of information control, rather than a place."

As Dohrn, Bill Ayers, Mark Rudd, and others recount that period in their lives, it's obvious they haven't come to terms with their actions (particularly their decision to enter into active militancy) or what can only be considered the failure of their mission. Attempting to overthrow a government through violent means taking on not only responsibility for your own actions, but also for the lives of others living under that government. This burden is made even heavier when you consider, as Rudd candidly says, "All Americans [to be] legitimate targets."

For a movement ostensibly seeking social justice and the liberation of the oppressed (interviewees reference their solidarity with the Black Panthers, for example), this willingness to accept what the military would term "collateral damage" complicates the Weather Underground's aims. This unavoidable contradiction affects most groups bent on social transformation through violence. Isolated and increasingly opposed by radical, non-violent groups, the Weather Underground become less influential towards the end of the late '70s.

The film doesn't offer any easy conclusions regarding the Weather Underground's motives, means to their ends or present-day reminiscences. In this respect and especially post-9/11, the documentary refreshingly resists charges of "right" or "wrong." It doesn't assign blame or argue in support of the Weather Underground's actions. Instead, it alternates between past and present, providing a kind of dispassionate and very smart reconsideration of a period. The decade known as "the 1970s" -- post-Altamont, post-Manson, in the final throes and aftermath of the Vietnam War -- yet hangs between the utopian possibilities of the hippie and the capitalist ethos of the 1980s. Like other transitional periods, it might best be characterized by moral and ethical opacity.

As Brian Flanagan muses, "The Vietnam Ware made us crazy... when you feel you have right on your side, you can do some horrific things." This mixture of "insanity" and moral righteousness is, of course, ideal for producing movements that seem at once totally reasonable (fight oppression) and incoherent (violence will produce a non-violent state). The sporadic nature of the Weathermen's violence only added to the movement's reputation for incoherence.

As The Weather Underground concludes, Rudd observes, "Violence didn't work." The reality is that, while it didn't effect transformation, the Weather Underground's episodic bombings became a symbol of a zeitgeist, a maelstrom of contradiction. Joan Didion depicted the late '60s peace movement in San Francisco as if lost, in search of moral clarity or collective identity. Similarly, the Weathermen were unable to fid a unified, sustainable center and community.





A Certain Ratio Return with a Message of Hope on 'ACR Loco'

Inspired by 2019's career-spanning box set, legendary Manchester post-punkers A Certain Ratio return with their first new album in 12 years, ACR Loco.


Oscar Hijuelos' 'Mambo Kings Play the Songs of Love' Dances On

Oscar Hijuelos' dizzyingly ambitious foot-tapping family epic, Mambo Kings Play the Songs of Love, opened the door for Latinx writers to tell their stories in all their richness.


PM Picks Playlist 2: Bamboo Smoke, LIA ICES, SOUNDQ

PopMatters Picks Playlist features the electropop of Bamboo Smoke, LIA ICES' stunning dream folk, Polish producer SOUNDQ, the indie pop of Pylon Heights, a timely message from Exit Kid, and Natalie McCool's latest alt-pop banger.


'Lost Girls and Love Hotels' and Finding Comfort in Sadness

William Olsson's Lost Girls and Love Hotels finds optimism in its message that life tears us apart and puts us back together again differently.


Bright Eyes' 'Down in the Weeds' Is a Return to Form and a Statement of Hope

Bright Eyes may not technically be emo, but they are transcendently expressive, beatifically melancholic. Down in the Weeds is just the statement of grounding that we need as a respite from the churning chaos around us.


Audrey Hepburn + Rome = Grace, Class, and Beauty

William Wyler's Roman Holiday crosses the postcard genre with a hardy trope: Old World royalty seeks escape from stuffy, ritual-bound, lives for a fling with the modern world, especially with Americans.


Colombia's Simón Mejía Plugs Into the Natural World on 'Mirla'

Bomba Estéreo founder Simón Mejía electrifies nature for a different kind of jungle music on his debut solo album, Mirla.


The Flaming Lips Reimagine Tom Petty's Life in Oklahoma on 'American Head'

The Flaming Lips' American Head is a trip, a journey to the past that one doesn't want to return to but never wants to forget.


Tim Bowness of No-Man Discusses Thematic Ambition Amongst Social Division

With the release of his seventh solo album, Late Night Laments, Tim Bowness explores global tensions and considers how musicians can best foster mutual understanding in times of social unrest.


Angel Olsen Creates a 'Whole New Mess'

No one would call Angel Olsen's Whole New Mess a pretty album. It's much too stark. But there's something riveting about the way Olsen coos to herself that's soft and comforting.


What 'O Brother, Where Art Thou?' Gets Right (and Wrong) About America

Telling the tale of the cyclops through the lens of high and low culture, in O'Brother, Where Art Thou? the Coens hammer home a fatalistic criticism about the ways that commerce, violence, and cosmetic Christianity prevail in American society .


Masma Dream World Go Global and Trippy on "Sundown Forest" (premiere)

Dancer, healer, musician Devi Mambouka shares the trippy "Sundown Forest", which takes listeners deep into the subconscious and onto a healing path.


Alright Alright's "Don't Worry" Is an Ode for Unity in Troubling Times (premiere)

Alright Alright's "Don't Worry" is a gentle, prayerful tune that depicts the heart of their upcoming album, Crucible.


'What a Fantastic Death Abyss': David Bowie's 'Outside' at 25

David Bowie's Outside signaled the end of him as a slick pop star and his reintroduction as a ragged-edged arty agitator.


Dream Folk's Wolf & Moon Awaken the Senses with "Eyes Closed" (premiere)

Berlin's Wolf & Moon are an indie folk duo with a dream pop streak. "Eyes Closed" highlights this aspect as the act create a deep sense of atmosphere and mood with the most minimal of tools.


Ranking the Seasons of 'The Wire'

Years after its conclusion, The Wire continues to top best-of-TV lists. With each season's unique story arc, each viewer is likely to have favorites.


Paul Reni's Silent Film 'The Man Who Laughs' Is Serious Cinema

There's so much tragedy present, so many skullduggeries afoot, and so many cruel and vindictive characters in attendance that a sad and heartbreaking ending seems to be an obvious given in Paul Reni's silent film, The Man Who Laughs.


The Grahams Tell Their Daughter "Don't Give Your Heart Away" (premiere)

The Grahams' sweet-sounding "Don't Give Your Heart Away" is rooted in struggle, inspired by the couples' complicated journey leading up to their daughter's birth.

Collapse Expand Reviews

Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.