“Apollo 10 1/2,” Richard Linklater’s new film, set in 1969, is a fanatical catalogue of mass culture. Re-runs, test patterns, Saturday-morning cartoons, and Dick Cavett’s Janis Joplin interview all figure in the action.
Stan seems to remember it all: the bad drainage in the rapidly built housing development, the pinball-cheating strategies of the “hoodlums” at the bowling alley, the foibles of his parents and grandparents and neighbors.
Stan defines his middle-class life as having both the privilege and the dissonance of isolation; he comes to the realization that there were big problems in the world and in the country, ones that adults all around him took very seriously, but that, for him, were a media phenomenon of newspapers, radio, and, above all, television.
By the time that Stan, following rigorous training, reaches the moon , it’s one small step for a boy who is a linked-in and deeply acculturated member of humankind. The depths of his connection to the wider world also run to the era’s cruelties , the rough games that kids played and the dangers that they were unquestioningly exposed to, and the burgeoning awareness that his little world was far from representative.
Even these dissonances form a part of the movie’s great, grand harmonies: along with its passionate emphasis on the power of observation and memory, the movie’s blend of autobiography and fantasy also defines and expands the very notion of experience. For Linklater, television and movies and music, the effluvia of street games and consumer goods and industrial design, are essential experiences—and fantasies themselves, as recalled in later years, are also basic elements of lived experience.
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