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"...AdescriptionoftheformofAMERICANDREAMSisdeceptivelysimple:alonganarrowborderatthebottomofthescreenahandwrittentranscriptionofArthurBremer'sdiarycrawlsfromrighttoleft;aseriesofchronologicalbaseballcardsfromthecareerofHankAaronareshowninasteadycadence,firstthefront(usuallyaphoto),thenthereverseside(battingstatistics,etc.).Finally,overtitlesindicatebyyearthesourcesofthesoundtrack'sfragmentaryspeechesandsongs....AMERICANDREAMSisfarfromunrestrictedinitshorizons.Aclear'senseoftheending'islimitedbytwoinevitableacts:BremerwillshootWallace;AaronwillbreakBabeRuth'srecord.Asaworkenergizedbyanautobiographicalimpulse,Benningnonethelesshideshimselfintheshadowsoftime.Itisn'tnecessarytoknowthatBremerwasBenning'sneighborinMilwaukeeorthatthefilmmakercountsamonghisgreatestachievementspitchingbattingpracticetotheMilwaukeeBravesin1962.Asexternallyshapedandmotivatedasitappearstobe,AMERICANDREAMSismarkedbyadarkandself-consciousmeetingofpersonalandpublicdesires...."-PaulArthur,TheAppearanceofHistoryinRecentAvant-GardeFilm.<br/> AmericanDreamsischockfullofconcrete,discreteelementsthatcompriseanAmericaniconographyofthepastthreedecades.Thefilmencouragesakindofperversenostalgiafor'thegoodolddays':Nixon's'youdon'thaveNixontokickaroundanymore';Elvis'responsetoquestionsabouthisgyratingstyleandtherumourthatonceheshothismother;PattyHearst's'Tania'statement;SenatorRibicoff'sreferenceto'GestapotacticsinthestreetsofChicago'.AllofwhichispunctuatedbythemusicoftheperiodandsetagainstacompositeimageofHankAaronmemorabilia(arrangedchronologically,1954-76,thespanofthechampionhome-runhitter'smajorleaguecareer),andthesordiddiaryjottingsofthewould-beassassin,ArthurBremer.
