[1][2]: p.143  It includes highlights from the show, behind the scenes footage, local performers from the countries visited, and interviews and conversations with GIs "as they discuss what they saw in battle, their anger with the military bureaucracy, and their opposition to America's presence in Indochina.

While the movie "is raw," it "underscores how infectious the movement of the 60s and 70s was", and chronicles both the Tour itself as well as the soldiers who came to see it and "the local talent of organizers, labor unions and artist/activists" in the countries visited.

[4] The FTA Show, the overseas part of which the film documents, was created as a response to Bob Hope's patriotic and pro-war USO tour.

Show in order to support their fight to end discrimination against people because of race, sex, class, religion and personal or political belief.

One author described this later element of the film as "explicit solidarity with the fight for economic and political rights by the ordinary peoples of the lands it visits.

These demonstration scenes are interspersed with a "vaudeville skit on the FTA stage in which Jane Fonda and Holly Near dance à la Folies Bergère to the tune of Bomb Another City Today!

"[2]: p.144  Several black marines are also shown talking about the racism in the military and at home and about "their reluctance to fight in Vietnam that arises from their sense of commonality with the Vietnamese as oppressed nonwhite peoples.

He hears it in "Leesville", "Waynesville", "Fayetteville", and "a Texas paradise called Killeen" - all towns with major military bases.

On the tour, when the troupe came to the last line they always hesitated, encouraging the audience to supply the real meaning of FTA, which the GIs invariably did with a thundering "FUCK the Army".

The second time, as they are making the long, drawn-out beginning of the word, Len Chandler turns and says quietly (but the mic picks it up) 'say it!'

One skit has a clearly pregnant soldier's wife being told by the military doctor to "go home and take two APCs [an aspirin compound] and come back when the swelling goes down."

[13] Sung to "an audience composed in large part of visiting enlisted women in the USAF", it describes experiences of everyday sexism from a woman's point of view, "with each brief narrative punctuated by a chorus": Now I sing this song in the hope that you won't think it's a joke cause it's time we all awoke to take a stand.

But their problems I can't solve 'cause my sanity's involved, and I'm tired of bastards fuckin' over me[2]: p.109 A professor of film described this combining of women's issues with GI antiwar sentiment, as positing "a total continuity...between a woman's right to control her body and that of a young male GI to refuse to give his body in a futile war.

"[10]: p.122 When these feminist elements were combined with the multi-racial cast and anti-racist message, the tour and film "stood in sharp contrast to Bob Hope's show.

Some pro-Vietnam War hecklers tried to disrupt the show and were quoted as saying "they liked to go to Vietnam to kill people because they made $65 extra a month in combat pay."

The audience erupted in "noisy agreement" while a number of sailors from the USS Oklahoma City "slowly but surely, confidently but peacefully" escort the hecklers out of the auditorium while Len Chandler leads the crowd in shouting "Out!

"[14][2]: p.157  There has been some speculation that the pro-war hecklers were "undercover agents and provocateurs", which was not an uncommon tactic used by police agencies during the Vietnam War era, but no proof has emerged either way.

[2]: pp.169–70 The film ends with Donald Sutherland reading from Dalton Trumbo's 1938 novel Johnny Got His Gun: Remember this well you people who plan for war.

"There's no proof, but I can't think of another reasonable explanation for Sam Arkoff, a man who knew how to wring every penny out of a film, yanking one starring Jane Fonda and Donald Sutherland from theaters at a big loss (and, apparently, destroying all of the prints, since none were ever found).

In February 2021, Kino Lorber acquired distribution rights to the film, and set it for a March 5, 2021, release in virtual cinema.

He did describe, however, a "striking sequence" when "an anti-American guerrilla theater pageant in the Philippines...momentarily turns revolutionary passion into a romantic gesture of extraordinary beauty."

[1]" A Los Angeles Times reviewer, after viewing the 2009 remastered version, described the show as a "fascinating documentary" that "mixes protest songs with broad and bawdy skits, taking potshots at military chauvinism and top-brass privilege."

"[22] Michael Atkinson, writing on IFC.com, called the film "a document of disarming anti-authoritarian nerve" and says "the spirit of the thing is infectious and energizing".