All told, I think the film fell surprisingly flat. The odd thing is that with all of my critical comments before its release, most turned out to be irrelevant. Not because Beer Wars answered them, but because, frankly, there wasn’t much substance to the film. That surprised me. For a film that was just shy of an hour and a half in length, Beer Wars took a long time to wind up to its point. And it took a really long time building up to the introduction of its main characters, Sam Calagione and Rhonda Kallman. Twenty minutes in fact. So long that I had forgotten they were central to the film. At the heart of the problem was that Anat Baron, the filmmaker, really had no place in Beer Wars at all and ten minutes of the film were probably wasted focusing on herself, including several of the crucial opening minutes. Selling malternatives doesn’t mean you’re in the beer industry. And even if it did, Baron’s placement in the film was either due to a mild case of narcissism or more likely a director’s cloudy vision of the overall project. It needed an editor or producer to step in and tell the director, “Listen, I get what you’re trying to do here, but it’s not working.” Unfortunately, that didn’t happen.

I could talk about the film’s choppy editing, pacing, and scene juxtapositions but really what struck me most was not the irrelevance of the chosen topic, as I once thought, but the missed opportunities in the storytelling. The film is wildly misnamed as it had little to do with the big guys, despite Baron’s repeated cheap pot shots at them and A-B in particular (kudos to the levelheaded analysis of panelist Maureen Ogle, on whom I believe the miscast moderator Ben Stein might have a little economist crush). Beer Wars also did not have much to do with the three tier system. At its core, the film was really about the little guys and their struggles against the greater economic system, which includes both the three tier system and the big guys. And this was such an obvious and advantageous narrative device that it was a bit painful to watch Baron fumble it.

Without question, the strongest parts of the film involved Rhonda Kallman, co-founder of the Boston Beer Company and the New Century Brewing Company. The scenes with her family were worth the price of admission and watching her personal struggles on screen provided the basis for a strong documentary voice. Watching her get politely turned down by a revolving door of individuals, from all three big brewers to a venture capital committee embarrassingly comprised of two kids half her age, was painful. But it was difficult if not impossible to reconcile Kallman’s strident willingness to align her company and products with the country’s biggest brewers (from A-B, Coors, and Miller, to a particularly bittersweet and cut-short pitch meeting with Jim Koch) with Baron’s slagging of big brewers. The filmmaker’s narrative voice or direction were clearly lacking in this pivotal part.

There are lots of little nitpicking points and questions that can be raised as well, such as why Beer Wars focused so much on Kallman’s Moonshot product to the near complete exclusion of the company’s flagship Edison Light beer, the confused poke at neo-prohibitionism (was she making fun of the NBWA, CSPI, or both?), and why Ben Stein was hired to host a panel without some prior rehearsals (didn’t even give my poor buddy Todd Alstrom a chance to discuss the clip in which he absolutely slammed Kallman’s beers, a shot he knew was coming). It seemed a long way to travel for such a short panel filled with Stein’s bumbling presentation and jeremiads in the form of questions.

In the end, it’s not that Beer Wars was irrelevant or dated, as I had worried. It’s that it just wasn’t much of anything but a series of lost opportunities. And frankly, that’s disappointing on several levels, none the least of which is that the available story material turned out to be so rich. The amateurish, Michael Moore-light antics distracted from what could have been a very interesting and personal story of what it’s like to compete in the world of big beer.

The wording of New Century’s press release is a little unusual, if for no other reason than it doesn’t mention the phrase ‘craft beer’ or ‘craft brewer.’ This is interesting because technically (under the Brewers Association’s definition), New Century doesn’t qualify as a craft brewer because (until very recently), all of its beers were made with flavor lightening adjuncts. The wording of the release tracks the BA’s definition but for its omission of the word ‘traditional,’ which the association defines as:

A brewer who has either an all malt flagship (the beer which represents the greatest volume among that brewers brands) or has at least 50% of it’s volume in either all malt beers or in beers which use adjuncts to enhance rather than lighten flavor.

What is much more interesting is that ostensibly, no one at New Century has yet seen the film. It’s release suggests at the film’s direction by predicting:

Beer Wars tells how corporate behemoths are using their muscle to try to snuff-out small, independent brewers who are shunning the status quo and creating innovative new beers.

The folks at New Century assume that their treatment in the film will be positive but, as I have wondered aloud about before, there is reason to believe that may not be the case. Historian and author Maureen Ogle, who will be a member of the panel airing immediately following the fillm, suggests that Rhonda Kallman’s central role in the film may be as a foil. She wrote on the MadFermentationist site linked above the following:

Rhonda is in the film because she’s NOT a big name. The whole point was that she did not “succeed” and the filmmaker, Anat Baron, wanted to compare Rhonda’s story to someone who did “succeed” (in this case, Sam C.)

Kallman’s inclusion in this project is curious on several levels but also brings the greatest opportunity for a narrative arc and to tell the story I believe the fillmmaker envisions (at least as far as I can glean from her public statements). If so, as I’ve written before, the film could be quite good. If, on the other hand, it merely repeats the tired, dated refrain of big versus little and misses the nuances involved (including that the fillmmaker appears to improperly lump New Century in with all craft brewers), then it will be a lost opportunity and a lot of work for an hour-and-a-half long craft beer infomercial.

I’ve debated this film several times over the last two or three weeks with friends and colleagues, which is certainly a good thing. So it’s time now to put away the keyboard and to revisit the subject after the film debuts. I believe that I’ll probably miss the panel discussion because I have to visit the anti-craft beer world of Lucero at the Paradise, but I’ll try to catch up with several of its members to gather its flavor.

What about the movie? Baron is review-proofing it, not scheduling screenings for critics, and not sending out DVDs to interested parties like me. Her people let me see about 10 minutes of “BW,” and it wasn’t very impressive.

What I saw was Michael Moore 101: Little craft breweries like Dogfish Head and MoonShot = Good. Anheuser-Busch, a.k.a. “the soulless machine,” the “monopoly,” the “corporate behemoth with their insatiable appetite for growth” = Bad. Baron takes a page right from the “Roger and Me” playbook, making much of Anheuser CEO August Busch’s refusal to grant her an interview. They did allow her on the premises, however, to hang out with the Clydesdales. “They were my best interview,” she joked.

I asked Baron why she insists on calling Anheuser a “monopoly,” when there are plenty of other beer companies out there. “I went to business school, I know what ‘monopoly’ means,” Baron shot back. Well, I went to eighth grade, where I learned that monopoly means “one seller.” I’m sure Anheuser would like to be a monopoly, but alas, Coors, Miller, Sam Adams, and Dogfish all stand in the way.

In the movie, Dogfish founder Sam Calagione decries publicly owned companies whose goal is “maximizing shareholder value.” Maybe he should hang out with Jim Koch, who runs a publicly owned company, and ask him why he’s in business. For the betterment of mankind, perhaps? “Sam” wages its own amusing deception campaign, calling itself a “small, independent craft brewer” when, with $400 million in revenues and three breweries under its belt, it is the largest American beer company in the United States. (Busch, Miller, and Coors are all foreign-owned.)

I’ve only recently started noting this column but one recent post caught my attention. Papazian generally writes about topics of interest to his organization and small brewers, a fair amount of industry talk actually. His most recent topic, “Blue Moon by MillerCoors ramps up marketing dollars,â€? was ostensibly about the recent news that MillerCoors plans to extend the marketing for the beer to the medium of television, a first for the carefully managed brand.

But a few throw-away lines in the lede and the rest of the article show how entrenched the association’s fear of Blue Moon is.

Blue Moon by MillerCoors is considered by many beer drinkers as a craft beer made by a small brewery. In actuality it’s a big brewer’s specialty brand that has enjoyed successful sales across the United States.

and

It will be interesting to watch whether MillerCoors Blue Moon can convince craft beer drinkers to switch from their local beers to theirs. Can advertising and marketing engage craft beer drinkers?

The unusual thing with these lines, and the entire tone of the Examiner piece and other similar pronouncements from the Brewers Association, is how they perceive Blue Moon as an interloper in the craft beer world as opposed to a brand that has actually made positive contributions to advancements in American beer culture. The Brewers Association, and similarly minded beer enthusiasts and craft brewers, appears to think that Blue Moon is a late-to-the-party attempt by a big brewer to co-opt the craft brewers’ mojo. In reality, the Blue Moon brand, as differentiated from the vast majority of craft-style beers from Anheuser-Busch and Miller, has actually been a very positive and pioneering force in the promotion of better beer in America. The truth is that there are few individual craft brands that have done as much as the Blue Moon Belgian White for changing the way average drinkers think about the pints in front of them.

I’ve been writing about The Curious Case of Blue Moon and how craft brewers have responded to it for several years. In an early BeerAdvocate column, I wrote:

And here starts the craft beer lover’s political problem. Should it matter that Blue Moon is brewed by America’s third largest brewery, one that produces more than 23-million barrels of beer per year? Countless dedicated craft beer drinkers have seen a Blue Moon tap handle, ordered and enjoyed the brand, only to later discover the Coors connection. While they certainly have an understandable objection about truth in labeling (a complaint they can also lodge with many contract-brewed craft brands), it doesn’t change the fact they probably liked the beer when they tasted it blind to beer politics. In the end, shouldn’t the question always be, is the beer any good?

I think the point remains a strong one. And it leads to my other criticisms and comments:

In dismissing Blue Moon as another big brewery poseur brand, contrarian beer lovers miss two larger points. First, in reporting the achievements of American craft brewers, the Brewers Association doesn’t include Blue Moon and its double-digit growth volume. While Blue Moon may not qualify for membership in the ‘craft beer’ club, it’s certainly a charter member of the ‘better beer’ segment. When added to the tally sheet, the Blue Moon brand’s explosive growth is perhaps the best evidence of a sea change in the American palate.

The second point is perhaps the least appreciated. In contrast to the sometimes-juvenile efforts of America’s two largest breweries, Coors has long treated the Blue Moon brand in a remarkably innovative manner: with respect. Blue Moon’s artistic point-of-sale materials, refusal to run television ads, and its dedication to the ritual of serving the luminous wheat beer in proper, shapely glassware speaks to the gentle, considered treatment of this brand. In comparison, one need only look at the absurd tap handles for Anheuser-Busch’s own line of seasonal draft beers to get the sneaking suspicion the brewing giant is trying to make craft beer look like a bunch of clowns.

I also think that the Brewers Association should stick to defining ‘craft brewer,’ which it claims to only do so for internal, data purposes, and quit trying to define ‘craft beer.’ This subject too has been discussed several times before and members of the Brewers Association’s staff have privately admitted error in previous uses of the ‘craft beer’ moniker, which no longer appears as a definition on its site. I’ve adopted the BeerAdvocate definition of craft beer, which is “beer brewed in limited quantities often using traditional methods.� Under this definition, I think Blue Moon clearly qualifies as a craft beer.

I can certainly appreciate how craft brewers, especially certain larger producers, might be concerned over competing with a macro-brewery with a powerhouse brand, especially one that apparently now plans to release specialty products, including a 9-percent Grand Cru edition. But I think the Brewers Association needs to rethink its approach to attacking brands such as Blue Moon, especially as the craft brewing industry grows. And if there is such antipathy towards these big brewers, perhaps it is time for the Brewers Association to go public with its privately stated desire to remove the larger brewers from sponsorship and distribution aid for the group’s signature money-making event, the Great American Beer Festival. With the upcoming Craft Brewers Conference in Boston, I remain interested in seeing whether the association’s membership takes some moments to let the staff know how they privately feel about these issues.

EDIT: A commenter noted another Papazian post that I was just reading as well, relating to a clip from the upcoming “Beer Wars” documentary. I thought I’d include that here for your review. I’m hoping that the film itself doesn’t just present the anti-Blue Moon side but also represents the many craft brewers who don’t view Blue Moon and Coors negatively.

Like many others, I first heard of the Beer Wars project at the Great American Beer Festival in Denver, Colorado, in 2005. The producers shot some scenes at the festival and there was a little buzz about it. The project then fell off the radar and I occasionally ran a search to find out what had happened, with no results. Fast forward to last month and Beer Wars was suddenly back with some strength. In a post on her blog, Baron explained the delay as her having missed “the window when documentary films were big news and were getting rich distribution deals…But now that I’ve given up on that fantasy, the reality is actually more exciting. I get to make the decisions and sheppard (sp) my film without having ‘suits’ make decisions for me.â€?

While I’m interested in seeing and reviewing the film, the recent blog coverage has piqued my interest the most. In recent weeks, we’ve seen some very fawning endorsements of the film, not only from people who appear in the film, but from beer industry insiders and novice and professional beer writers as well. One particularly breathless account by my usually level-headed colleague Jay Brooks sums up the sycophantic blog mood of recent weeks.

Beer Wars is nothing new. The war itself has been quietly raging for years and years. But only insiders have been aware of it and even fewer still have been willing to admit it and talk about it publicly. This film should blow the lid off of that and make honest debate at least possible. That would be a great first step in bringing more people over to the craft beer side. Just like Star Wars, the craft beer movement is the rebellion and we’re fighting the empire for galactic beer domination. Once enough people realize we’ve got Han Solo, Luke Skywalker, Princess Leia and the Ewoks on our side, how could anyone possibly continue to support the dark side? Still not convinced. Watch the trailer. Let the fermentation be with you.

The frenzied fan fare has me wondering about the ways craft beer enthusiasts interact with and respond to mainstream and alternative media coverage of their favorite hobby. Similar to the recent New Yorker piece on Dogfish Head and extreme brewing, craft beer lovers crave attention for the subject of their passion. And that is certainly understandable, especially after many years of not being taken seriously by the media (although it’s debatable whether that attitude has really changed). But there is something about the Beer Wars project itself, and the groundswell of excitement surrounding it, that I can’t quite put my finger on.

In truth, we know little about the project. On her website, Baron provides some details that help to smooth the outer edges.

Everywhere we went, we heard grumbling about the decline in mainstream beer sales. It seemed that innovation was now coming from the small players instead of the giants. The highlight was an interview with Rhonda Kallman who had left Sam Adams to launch her own company. Her tenacity and energy were inspiring.

So the story began to take shape. The independent brewers vs. the big corporate players. The timing was right. An increasing number of Americans were interested in making their own choices and not kowtowing to the corporate marketing machine. Whether in coffee, cheese, chocolate, locally grown produce, people were willing to experiment and explore, even if it meant paying a little more. Craft beer was a natural extension of this trend.

At the outset, one critical note that keeps ringing in my head is that the independent brewer versus big corporate player dynamic would have been spot on five to seven years ago. The Slow Food-style comparisons are even more dated. But today, both paradigms ring pretty false. There remain, of course, challenges between these two tiers of beer industry competitors. But, compared to even just five years ago, the main sources of friction between them have greatly receded and craft brewers have new sources of concern (managing growth, providing consistent and fresh products, balancing innovation versus customer expectations, balancing debt service against expansion needs). It’s an anachronistic exercise to continue to view the beer industry through the prism of us versus them, small versus big. Case in point: ask any craft brewer you know about their access to market concerns five years ago compared to today. It’s the difference between having trouble getting a space on a big brewer’s truck versus finding enough time to return all of the new distributor inquiries from around the country. Access to market is no longer the looming problem. Deciding which markets to turn down and how to keep fresh product on the shelves are the problems today. This is undoubtedly a much simplified view of one aspect of the industry but it serves as an example to illustrate the greater point. The opening scene in the trailer has an individual offering that “They’re all fighting for a piece of a pie that is not growing.â€? If this is the documentary’s premise, it’s a hollow and inaccurate one in today’s beer marketplace.

The continued relevance of the idea behind Beer Wars has come up in some conversations I’ve had with industry insiders recently. From what I can tell, in tackling the subject of the beer industry at large, Baron wisely relies upon the tested documentary technique of following a limited pool of individuals and using their personal narratives to tell a wider tale. Baron notes on her website:

Beer Wars begins as the corporate behemoths are being challenged by small, independent brewers who are shunning the status quo and creating innovative new beers. The story is told through 2 of these entrepreneurs – Sam and Rhonda – battling the might and tactics of Corporate America. We witness their struggle to achieve their American Dream in an industry dominated by powerful corporations unwilling to cede an inch.

Of course we all knew that the affable Calagione would be a focus of the film, it’s almost a precondition of media coverage these days. But Rhonda Kallman is a very interesting choice for a second act. Kallman is well-known among beer industry insiders but is decidedly less so for beer enthusiasts, especially young ones. I profiled Kallman in one of my first pieces for Beverage Business Magazine in 2001. While we all recognize Jim Koch and his accomplishments, Kallman co-founded Boston Beer Company with Koch in 1984. He has described her as “smart, resourceful and motivated� and noted that while Boston Beer Co. had no corporate ladder to climb, Kallman built her own ladder. Koch credited Kallman with helping to bring about a fundamental change in the American beer industry and she shared the 1997 Institute for Brewing Studies Recognition Award for outstanding contribution to the microbrewing movement with him. Kallman left Boston Beer at the end of 1999 and went on to form her own contract brewing operation, the New Century Brewing Company.

At the time, Kallman was seeking to release her own national light beer, set to be a step above macro-brewed light offerings. A daring if questionable idea from the start, Kallman’s new beer, playfully named Edison Light, had some buzz of its own. In my interview of the time, Kallman suggested an approach that laid the basis for Beer Wars.

It’s an above premium light beer, a segment that is clearly dominated by giants. There has been no news in the light beer category in years, no real new news at all. And 75 percent of the light beer segment is made up of the big three – A-B, Miller, and Coors. Other brewers, particularly importers, all have light beers as well. But they all really can’t get out of the way of their flagship. Light beer is clearly the direction the consumers are going, at least the targeted demographic that we are all after, which is males aged 21 to 27, and increasingly they are drinking more and more light beer. And that demographic is expected to grow, so people are clearly after that. But we’ll appeal to these people and that young demographic looking for change, a new choice and variety.

Fast-forward seven years and the Edison Light beer project, and its sister product, the short-lived caffeinated beer called Moonshot, have stalled. The national rollout never happened and now Kallman acknowledges that the brand’s reach is limited. After an initial push in the Massachusetts market, Edison quickly retreated to a few hideouts around the state. It’s now available by request in certain parts of Massachusetts, New York City, Southern California, and Trader Joe’s markets east of St. Louis. It probably didn’t help that the beer was released to the public the day before the September 11th attacks.

So with all of this in mind, I’m curious to see Beer Wars and how it handles Kallman’s situation, among other issues. Will the film be honest and note that her operation and its big plans have met with little success or will it simply frame the debate in outmoded terms better suited to a decade ago? And will it draw the necessary distinction between Kallman’s business model, marketing a national premium light beer against entrenched and well-funded competitors in a similar category, and the operations of nearly every other “craft brewer.� I look forward to finding out.

Beyond these substantive points, the trailer itself is full of things that will appeal to the red meat beer geeks, including the otherwise sensible Greg Koch talking some ridiculousness about making angry beer and how it turns people happy. Frankly, I think the late Michael Jackson may have been the only to make any real sense in the trailer and he sadly passed away more than 18 months before the film’s release. I’m also curious to learn whether Ben Stein has some perhaps yet unreleased connection to the beer industry or if his moderating services were simply available for rent at the right price.