Both films begin with an introduction to the "cult" following, including interviews with critics, media personalities, other people involved with the production, and then set about focusing the film on one person who the director feels is impacted most. Both films feature directors who are personally involved in the narrative of the documentary and both feel they have a stake in their subject. Best Worst Movie and Winnebago Man also deal in the culture of "to be laughed AT," a relatively popular phenomenon in the age of the internet and of "viral videos," where the subject(s) of mockery are largely removed from their audience, especially in the case of Troll 2 and Rebney's Winnebago outtakes.Where they differ is on two key distinctions: the type of media (and the way it is /was disseminated) and the reaction of the film's "subject" (in Winnebago Man, Jack Rebney; in Best Worst Movie, George Hardy). These differences are critical in the success or failure of each film, in part because they frame the "subject" of the film and their audience well before the two ever meet on camera.
The first distinction is an important one, and it explains to some extent why Winnebago Man stumbles in its mid-section. The "viral video," and specifically Rebney's outtakes, are generally speaking viewed on an individual level. One person watches the video on Youtube (or videocassette, as is explained in the film), and passes it on to someone else. We watch them alone, we enjoy them alone, and don't tend to think of these videos as a truly "shared" experience. Gatherings to view the footage, like the Found Film Festival which is featured in Winnebago Man, are fairly rare events.
Troll 2, on the other hand, expanded from an initial home video run to appear regularly in theatres as a "midnight movie" like The Rocky Horror Picture Show. The experience of Troll 2, unlike the Winnebago outtakes, is inherently communal. In nearly every instance during Best Worst Movie, it's clear that fans enjoy watching the film together, laughing at the film together, and sharing the experience of Troll 2. The audiences also seem much more invested in the idea of meeting a George Hardy or a Michael Stephenson than a Jack Rebney, who the founders of the Found Film Festival assumed was dead.
This brings us to our second distinction, and the one that benefits one film and seriously undermines the other: the subject(s). I understand why Ben Steinbauer was interested in finding Jack Rebney: it's a fascinating project to track down the "lost" star of one of YouTube's most popular videos, and to find out how he feels about his indirect fame. The problem is that once it is apparent Rebney has no desire whatsoever to interact with Steinbauer on those terms, Winnebago Man struggles to move forward. Jack Rebney offers no insight into the questions Steinbauer hoped to answer, and moreover, he refuses to interact with the fan base the director planned on connecting him to for almost three years.
George Hardy, on the other hand, is a relatively benign subject who has fond memories of making Troll 2 and an inkling that people seem to like the film now, partly because Stephenson was also in the film. Michael Stephenson lucked out, in some ways, by choosing Hardy to expose to the screenings of Troll 2 he'd been observing prior to making Best Worst Movie. Hardy is easygoing, gregarious, and clearly a little struck by the sudden popularity he encounters, and he has the benefit of knowing the director as they experience Troll 2's resurgence together. Best Worst Movie can then accordingly document Hardy's rise and fall as a quasi-celebrity, complete with a narrative arc right out of classic Hollywood: the humble hero who brushes with fame, becomes consumed with it, and then realizes that it isn't all it's cracked up to be. Stephenson has a willing participant and Best Worst Movie becomes something more than a document of a twenty-year-old stinker's "cult" status, and as luck would have it, no one needs to be prodded to make it happen*.Trying to manufacture an event with the mercurial Rebney moves the film out of the realm of "what would happen if" and make it a "let's see what happens when I drag someone who clearly isn't interested in what I want to do out of his comfort zone and put him face to face with people he doesn't want to meet for reasons he has every right to express. It reminded me of something that hasn't happened yet - but could - tied to Best Worst Movie.
During a post-screening Q&A, one of the producers indicated that Fragasso wanted to make a Troll 2: Part 2 (in 3-D), and if that were to happen, they would certainly document it for a Best Worst Movie 2. And that's a horrible, misguided idea, I have to say. It's not simply trying to catch lightning in a bottle again; the concept as presented is trying to create it, and that never works. Troll 2 isn't the endearing train wreck it is because the writer, director, cast, and crew set out to make the "best worst movie": it was simply the accidental byproduct of their efforts.
By making a Troll 2: Part 2, everyone involved (and especially the people making Best Worst Movie 2) is going to have the reputation of Troll 2 in their minds, and many of them will be trying to replicate it - or worse, play it up. The documentary crew is certainly hoping for this (and if you doubt me, they also expressed hopes for a reality series with George Hardy and The Room's Tommy Wiseau that fortunately never came to pass) and the result will be a film trying so hard to be bad (on a conscious level or not) that it lacks the necessary "it" that makes Troll 2 the "best worst movie." It's like expecting Jack Rebney to show up at a screening of his Winnebago outtakes ready to spew profanity and swat at flies.
Winnebago Man dances around the nature of Rebney's "fans" by portraying them exactly as he suspected while waiting in line but then soft-pedaling the Q&A and post-screening. Only one person expressly states their perception of the "Angriest RV Salesman in the World" was way off, while other people exiting the theatre substitute for earlier interviews (who sometimes appear taking pictures with him but saying nothing, thereby neither asserting or refuting their earlier opinions). Best Worst Movie doesn't directly address the fan reaction with Stephenson, but the film certainly shows you the ugly side of how the "laughing AT" audiences regard Fragasso, Hardy, and Troll 2 in general. The fans move from genuinely enthusiastic near the beginning to partially hostile (or at least incredibly judgmental, as with the case of the "how come it's called Troll 2 when there are no trolls?" question) to the people involved. There's an ugly undercurrent to the fan relationship in Best Worst Movie that Steinbauer avoids addressing during the second half of Winnebago Man**, much to the latter's disadvantage, in part because the film struggles to find its footing at that point.
I do feel that Best Worst Movie is successful in ways that Winnebago Man is not, but I would like to point out that this is not the fault of Ben Steinbauer: he found himself in the unenviable position of changing a documentary midway through his search with a subject that continued to throw him curveballs and refuse to meet him halfway on almost every decision. Winnebago Man is a well constructed documentary that lost its sense of purpose and has to push onward. Best Worst Movie has the tremendous benefit of everything falling into place in a compelling manner, but this is not to belittle or undermine Stephenson, who put together a consistently entertaining, endearing, funny, and disturbing documentary. It takes just as much work to make either film, and I think they both handle their subject manner in the best way possible. One has a better go at it for me, but I understand why the other one exists, and more importantly, deserves to be seen.
* It doesn't hurt that Best Worst Movie is also populated with a host of interesting supporting characters, from the rest of the cast of Troll 2 to its egotistical director, Claudio Fragasso. Winnebago Man ultimately rests on Jack Rebney's shoulders, and he's clearly less interested in being the subject of that particular documentary than anyone in Best Worst Movie.
** Early in the film, he interviews two hosts of a "found video" cable access show that state upfront they have no interest in ever meeting Rebney or anyone else in the tapes they receive. To meet the person associated with the injury or embarrassment would remove any joy taken from their suffering, they explain, which is a telling comment the film never again explores.
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