Cult Review
Senior Film Conservator

If you have a weird itch to see how people in the 1930s thought about history, sure. It’s for the folks who like digging through old archives. If you want something that actually flows, look elsewhere. You will probably hate this if you prefer a narrative that doesn't jump around like a caffeinated rabbit.
The whole thing feels like a fever dream of mid-century Americana. One minute you’re looking at these stuffy Hapsburg portraits, and the next you’re watching Dallas and Fort Worth act like petty siblings at a birthday party. It’s bizarre.
The rivalry section is the best part. There’s something inherently funny about seeing these two cities try to one-up each other for the Texas Centennial. It’s petty. It’s human. It’s not exactly The Perfect Woman, but it has that frantic energy you don't see anymore.
It’s funny to compare this to something like Maria Chapdelaine where things actually settle down. Here, you get no peace. It just keeps pushing information at your eyes until you’re tired.
The youth programs part feels dated in a way that’s hard to put into words. It’s well-intentioned, I guess, but it feels like a relic from a different planet. You can tell they *really* wanted you to believe in the mission. It feels a bit like the earnestness in Zander the Great, but stripped of the charm.
Honestly, I checked my watch three times during the Hapsburg stuff. It’s just too many names for a short reel. But then the Texas part kicks in and you can’t help but laugh at the sheer entitlement of these local governments fighting over tourists. It’s a snapshot of a time where everything felt like a spectacle.
It’s not a film I’d recommend for a Friday night, but for a rainy Tuesday? It’s fine. It’s weirdly hypnotic. Just don't expect it to make sense as a whole piece. It’s just stuff happening. 🕰️
Year
1936
IMDb Rating
—

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Deciphering the legacy of transgressive cult cinema.
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