EASY RIDER (1969)

Title: EASY RIDER

Year of Release: 1969

Director: Dennis Hopper

Genre: Adventure, Drama

Synopsis: Two freewheeling bikers ride across the United States seeking freedom and to find themselves, but meet a tragic end.

Within a film history context: Films which have bikers as central characters can be found from the earliest days of cinema. One of the most notable was Mabel Norman and Mack Sennett's silent MABEL AT THE WHEEL (1914). Here, Charles Chaplin offers Mabel Normand a ride on his motorcycle in this zany comedy studded with other comics such as Chester Conklin, and co-director Mack Sennett. Another comedy was SHERLOCK JR. (1924), both starring and directed by Buster Keaton. It is noteworthy for a remarkable scene where Mr Keaton rides his motorcycle over a collapsing bridge, and surpasses many other obstacles. A film with larger scope given to a motorcycle rider protagonist was Jack Lee's ONCE A JOLLY SWAGMAN (1949). In this movie, a man's passion for motorbike racing causes issues in his marriage, with Dirk Bogarde in the lead part of the professional motorbike racer. Similarly THE PACE THAT THRILLS (1952), directed by Leon Barsha also featured a biker, with romance and much action included for good measure, with Bill Williams in the lead. One of the most famous of the biker movies was Laszlo Benedek's THE WILD ONE (1953). An excellent showcase for Marlon Brando, it revolved around biker gangs, and their impact on a small town and its residents. In an entirely different vein, exploitation was the name of the game in MOTORCYCLE GANG (1957), directed by Edward L. Cahn. It was one of American International Pictures' films on the theme, with others such as David Bradley's DRAGSTRIP RIOT (1958) also appearing around the same time. The difference between the former, and the latter was that the latter featured familiar faces such as Fay Wray and Connie Stevens in its cast. Into the 1960s came an explosion of biker-themed movies on screen, especially in the second half of the 1960s.

THE GREAT ESCAPE (1963), directed by John Sturges, had scenes with Steve McQueen riding a motorbike, in this taut World War II tale. With Joseph Losey's THE DAMNED (1963), a malignant motorcycle gang cause nothing but problems for an innocent man who falls into their clutches. Elvis Presley vehicle ROUSTABOUT (1964), directed by John Rich, with Mr Presley riding, and singing on a motorcycle, was one of the main attractions in this musical romance. On the other hand, Sidney J. Furie's THE LEATHER BOYS (1964) featured several supporting biker characters as well as a biker main protagonist. More blatant in its approach was MOTORPSYCHO (1965), directed by Russ Meyer. Exploitation was the order of the day, with misogynistic bikers raping women, and causing other mayhem, but their latest crime finds them an opponent determined to bring them down. Roger Corman's THE WILD ANGELS (1966) was another exploitation film, but this time, with an excellent cast, including Peter Fonda, Bruce Dern, Diane Ladd and others, in this movie about a California biker gang, and their hell raising ways.

Further biker adventures and capers were spotlighted in other films such as, most notably, HELLS ANGELS ON WHEELS (1967), directed by Richard Rush, and Daniel Haller's DEVIL'S ANGELS (1967). Revenge was the motivation for THE GLORY STOMPERS (1967), directed by Anthony Lanza, and David Hewitt's HELLS CHOSEN FEW (1968). There was also a slight trend toward female bikers in several late 1960s films, with 1968 alone sporting SHE-DEVILS ON WHEELS, directed by Herschell Gordon Lewis, Maury Dexter's THE MINI-SKIRT MOB, and THE GIRL ON A MOTORCYCLE, directed by Jack Cardiff, some of the envelope-pushing releases that year. Compared to these examples, EASY RIDER had in common the scenic footage of bikers traveling the country, but diverted in other surprising ways from the previous entries in the genre.

Unlike the earliest movies such as MABEL AT THE WHEEL and SHERLOCK JR., which employed biker characters in amusing scenarios, EASY RIDER, overall, was neither deeply dramatic, nor comic in any particular way. There was some humor in the film, but it was not of a broad nature, more subtle in its delivery. The supporting characters in EASY RIDER generally provided the spice, which gave the movie a balance to the scenes of biker escapades. EASY RIDER had an easy-going way about it in the style of ROUSTABOUT, with its picturesque views of the countryside, but lacked the melodrama of entries such as THE GLORY STOMPERS, and the other mid to late 1960s biker films. While many of those focused upon violent narratives with evil bikers, such as in MOTORPSYCHO, the bikers in EASY RIDER were, in complete contrast placid, and even-natured in comparison. 

Wyatt and Billy in EASY RIDER never directed violent tendencies toward anyone, but ill-feeling was aimed at them in the film, which gave the characters a more realistic backdrop than the indestructible, malevolent bikers of other examples. The trend of evils bikers can sometimes be over the top, but having the bikers under threat in EASY RIDER added refreshing emotional layers to the movie lacking in the other movies. Reaction to their treatment from other people, such as George's pointed comments, were also shown in the movie, something which many of the others either only touched upon briefly, or ignored completely. EASY RIDER's characters were also of a different caliber, thus making them more relatable than the sometimes overwrought bikers from other examples. 

There was a contrast between the cool, calm, and collected Wyatt with the edgier, slightly suspicious Billy which worked well. Their motivations were also different from the other biker films in general which made EASY RIDER stand out in the respect. In EASY RIDER, Wyatt and Billy only sought variety, and different experiences with a variety of people on the road. It was more of an odyssey for them, especially displaying their reactions to people, and how other people in turn envisioned them. The film was more of a learning experience not only for the characters but also, the viewers, which also gave EASY RIDER a slightly sombre streak. The most poetic of the biker movie genre, EASY RIDER is memorable for its thoughtful presentation and sincere intentions, an original film that deserved its immense success.

Overview: Dennis Hopper was an actor who began his movie career as a young adult, and directed seven feature films over the space of twenty-five years. His second movie, THE LAST MOVIE (1971), was about a horse wrangler involved in the filming of a movie in Peru, and how his life immeasurably changes after being involved in this project. Critically derided at the time of its release, with poor box office takings, it hampered its director's ability to make another film for some time. Mr Hopper's third film, OUT OF THE BLUE (1980), was a total change of pace from his previous movie. The character study of a young woman obsessed with Elvis Presley and punk music, it was much better received than THE LAST MOVIE, specifically due to its direction, and performances. Grittier in content was COLORS (1988). An examination of gangs, and associated violence in Los Angeles, as seen through the eyes of a veteran policeman and his younger partner, it was well-received not only critically, but also at the box office. The opposite could be said of Dennis Hopper's next film, CATCHFIRE (1990). Despite starring Jodie Foster, and an illustrious cast in a tale of a woman pursued due to her witnessing of a Mafia killing, it did not do either good business financially, or critically. Mr Hopper's penultimate movie, THE HOT SPOT (1990) was in a similar predicament. Crime was again the focus, this time with a man robbing a bank, and becoming enmeshed not only with the police, but also, the town's female inhabitants. Dennis Hopper's last feature film, CHASERS (1994) was a comedy about two United States Navy men assigned to take a Seaman female prisoner to jail, this woman capable of doing anything to get away. EASY RIDER was Dennis Hopper's directorial debut, and one of his most insightful motion pictures.

The story of two bikers riding across America, searching for a slice of happiness, and not finding it, is well explored, and executed by the director in EASY RIDER. Dennis Hopper achieves this in a number of ways. Mr Hopper captures a time and place in the world with exactness and sensitivity, especially highlighting feelings of disenchantment, and displacement, on the part of his protagonists. The America of the late 1960s, with all of its understanding, and also, lack thereof on display, is demonstrated by Mr Hopper through his characters, with both their reactions to, and the impact they make with their presence, on the world they inhabit. Being one's self, and finding one's true self, are high on the film's aspirational radar. EASY RIDER looks at how the natural presence of its characters is threatening to certain others in the story world, and this in turn brings themes of being the outsider, racism, and other concepts to the fore. These are the strongest segments of the movie, which are the most memorable in retrospect. EASY RIDER, though, is a picture which has elements which have not held up as well over time.

While EASY RIDER has a contagious aura of freedom which is not to be discounted, especially in the many motorcycle scenes, some of the segments of the film are not as sturdy as others. In the 1960s, the commune scenes would have possibly been more relevant than now, but these definitely could have been shortened. Even though these introduce one of the many characters who ride along with Wyatt and Billy, and have a purpose in the movie, they seem to go on a little, but one part of the film is particularly enervating to watch. More so than the commune sequences, the LSD drop out scene with Wyatt, Billy and their companions is interminable. It does not add much to the film except excess weight, and, if eliminated or substantially edited, would not have been missed. Something else that subtracts from the film is the fact that Wyatt and Billy are drug dealers, which makes them somewhat less sympathetic on one level. While the tragedy of the finale is palpable, having them involved in illegal activity takes away somewhat from the devastating effect the film strives to achieve. In spite of these flaws, there are many things which recommend the film as one that must be seen by those seriously interested in cinema. EASY RIDER, on the whole, is a landmark movie that set trends in cinema, and has a definite place in cinematic history.

Acting: Three acting contributions are the most prominent in EASY RIDER. As Billy, the anxious, slightly paranoid biker, Dennis Hopper brings a nervy, jovial energy to his role, that can be contrasted with Wyatt. As Wyatt, Peter Fonda exhibits a cool, philosophical outlook that works well as the more subdued of the two bikers. The small role of boozy, curious lawyer George Hanson is made memorable by Jack Nicholson. A performer who excels in roles where he is called upon to display his dominant personality, here he is more knowing, understanding, with a vulnerability lacking from his other portrayals.

Soundtrack: EASY RIDER has an eclectic soundtrack, with an extensive collection of rock songs of the era playing as non-diegetic music. Tunes such as 'Born to be Wild', 'I Wasn't Born to Follow', and 'Kyrie Eleison', to name several examples, not only illustrate, in many cases, what is taking place onscreen, but also, immeasurably add an atmosphere of excitement, and zest, to the movie.

Mise-en-scene: Laszlo Kovacs' cinematography is first-rate, highlighting the many beautiful, rugged places which Wyatt and Billy visit on their travels. The film is shot extensively in many locales which gives the film a sense of verisimilitude, and is notable historically for showcasing locations which would be vastly different now than what they were at the time of EASY RIDER's filming.

Notable Acting Performances: Dennis Hopper, Peter Fonda, Jack Nicholson.

Suitability for young viewers: No. Female nudity, adult themes, medium-level violence, drug use.

Overall Grade: B

Link: IMDB Page

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SOUTHERN COMFORT (1981)

Title: SOUTHERN COMFORT

Year of Release: 1981

Director: Walter Hill

Genre: Action, Drama

Synopsis: A group of National Guard soldiers in the Louisiana bayous encounter Cajun locals who have anything but hospitality on their mind.

Within a film history context: Films about the United States National Guard have not been a regular feature of cinema, but have appeared in several instances. One of the most prominent was Irving Pichel's COLONEL EFFINGHAM'S RAID (1946). It was about the eponymous, retired Colonel seeking support to save the town square in his small town. The National Guard are present in scenes toward the end of the film, and also feature a major character who is a member of the National Guard. THUNDERBIRDS (1952), directed by John Auer, had characters drafted into the Oklahoma National Guard who subsequently served in World War II. In Robert Aldrich's ATTACK (1956), matters were of a different nature. Here a section of the United States National Guard was on assignment in Belgium during World War II, with many power plays between members of the infantry. A TIGER WALKS (1964), directed by Norman Tokar, presented the National Guard as the ones poised to shoot a tiger which has escaped from a circus transportation vehicle, but matters take a turn with a Sheriff becoming involved in this pursuit. The 1970s and after brought forth other depictions of the National Guard to the cinema screen.

Horror was the focus of William Claxton's NIGHT OF THE LEPUS (1972). The National Guard are called upon to kill giant rabbits leaving a trail of death and destruction in their wake in this science fiction horror movie. In THE SPOOK WHO SAT BY THE DOOR (1973), directed by Ivan Dixon, the National Guard attempt to curtail a movement founded by a black man which seeks to progress the black cause, but in a largely aggressive manner. Tom Laughlin's THE TRIAL OF BILLY JACK (1974), a continuation of the Billy Jack film series, spotlights the National Guard during the scenes of unrest in the town, and at the school in the movie's most tragic moments. CONVOY (1978), directed by Sam Peckinpah, contained scenes close to the film's end where the National Guard aim to fire at trucker Rubber Duck. In a much more extreme vein, George Romero's horror film DAWN OF THE DEAD (1978) has the National Guard attempting to ward off zombies who are killing human beings at an alarming rate, with mixed success. SOUTHERN COMFORT was dissimilar from, and superior to, these film examples of National Guard characters for various reasons.

It was the first film of its time which was solely devoted to National Guard characters, with only several, but key, supporting non-military characters in the narrative. Unlike the other movies, where the National Guard protagonists were either secondary characters, or called upon to correct a situation gone wrong, such as in A TIGER WALKS, THE TRIAL OF BILLY JACK, and DAWN OF THE DEAD, SOUTHERN COMFORT is unique in that the characters, and their situation, entirely consume the film's running time. The audience is with them the entire way, from their initial introductions at the film's beginning, to the end. The movie takes the time to carefully establish each and every member of its National Guard in SOUTHERN COMFORT, the viewer hence intimately knowing what makes them tick, which gives the film both a thrust, a moving quality throughout, and, especially, at the end. Other features of the movie make it different from the other examples mentioned previously.

As SOUTHERN COMFORT follows a training exercise of the National Guard in the Louisiana bayous, and what happens when one of the crew makes a costly mistake, the film is more realistic than the other films in the genre for several reasons. They are neither there to assist anyone in need, in other words, to be seen as a savior, as in NIGHT OF THE LEPUS, or cast in a negative light, where they are called upon to perform an unpopular deed, such as in THE TRIAL OF BILLY JACK, or CONVOY. They are in the swamps undergoing training, and armed not with heavy machine guns or artillery, but with blanks. This sets SOUTHERN COMFORT apart from others as this lack of arms is what propels the story, and causes the loss of members of the Guard, who cannot retaliate against their enemy with proper weaponry. This not only gives the characters a vulnerability in the face of their opponents, but also adds suspense to the film. Seeing how the unarmed members of the National Guard manage to survive their ordeal is what drives the movie, giving it a bittersweet quality not present in the other examples. The finest movie made about the United States National Guard, and one of the best military-themed movies ever, SOUTHERN COMFORT is an incredible, transfixing cinematic achievement.

Overview: Walter Hill has helmed twenty-one features as a director in his forty-one year career. His movies are generally action-oriented, but interwoven with a strong current of understanding for his characters, thus providing the pictures with a revealing humanistic perspective. Mr Hill's first movie, HARD TIMES (1975) was a Charles Bronson vehicle with Mr Bronson as a boxer during the American Great Depression. Next came THE DRIVER (1978), the story of a man who drives getaway cars from robberies, but with a detective hot on his trail. One of Mr Hill's most recognized works was THE WARRIORS (1979). A futuristic tale of gang warfare in New York City, it was notable for its violent content, but also, introducing many new actors to the screen. Mr Hill then traversed into western territory with his fourth movie, THE LONG RIDERS (1980). The retelling of notorious criminal Jesse James' life and his exploits with fellow members, it was also of interest for starring three of the Carradine acting brothers in main roles, being David, Keith, and Robert Carradine. Walter Hill had a great box office success with action comedy 48 HRS. (1982). Starring Eddie Murphy at the height of his fame as a paroled con assisting seasoned policeman Nick Nolte with a case, it was a popular movie that later led to a sequel with the same actors and director, ANOTHER 48. HRS (1990). Further into the 1980s, Mr Hill made a variety of projects which had mixed results at the box office.

STREETS OF FIRE (1984) was a musical starring Michael Pare, while BREWSTER'S MILLIONS (1985) was a comedy with Richard Pryor in the lead role. Mr Hill made another foray into films with a music background in CROSSROADS (1986), this time with a blues theme. It was back to action in EXTREME PREJUDICE (1987), charting the relationship of a ranger and a drug lord who were friends, but now bitter enemies. Shades of 48. HRS appeared in RED HEAT (1988), this time being a Russian policeman teaming with a detective to bring a drug kingpin to justice. Crime, though, was the main topic of JOHNNY HANDSOME (1989). Centering around a criminal who cannot quench his thirst for revenge, it starred Mickey Rourke in the main part, with support from Ellen Barkin and Morgan Freeman. Into the 1990s and beyond, Walter Hill's films were as diverse as his previous efforts. 

TRESPASS (1992) was similar to THE WARRIORS in that a gang was featured, in this instance consisting of black men, but their opposition in this case were two firemen, with plenty of intrigue and suspense abounding. Mr Hill again traveled through historical territory with GERONIMO: AN AMERICAN LEGEND (1993), which looked at the American Indian chief and his clashes with the government. Another portrait of an American historical figure could be found in WILD BILL (1995), with Jeff Bridges as the iconoclastic Wild Bill Hickok, also spotlighting others such as Calamity Jane, played by Ellen Barkin. The Prohibition Era of the 1920s and 1930s was brought to life by Walter Hill in LAST MAN STANDING (1996), with Bruce Willis as a criminal caught in a war fought between Italian, and Irish Mafia. Into the new millennium, Mr Hill then took a plunge into science fiction with SUPERNOVA (2000), starring James Spader and Angela Bassett. His final movie thus far, THE ASSIGNMENT (2016), covered a man who becomes a woman via reassignment surgery, and plots revenge on the person who put him in this situation. Walter Hill's fifth film, SOUTHERN COMFORT, was one of Walter Hill's most distinctive movies, and also, one of his best-ever films.

A pungent tale of survival in the Louisiana bayous by a group of National Guard soldiers, SOUTHERN COMFORT is a spellbinding viewing experience from start to finish. Walter Hill achieves this in several ways. He dives the spectator into the film without hesitation, introducing the characters who play a role in the narrative in a naturalistic manner. One discovers what they need to know about them, and how their particular mindsets will either assist, or hinder them during the course of the film. The low-key, casual conversations between the characters, the observations they make about what they are caught up in, are all utterly fascinating to witness, and paint a proper canvas for them. They are all three-dimensional characters who could exist in reality, their interactions extremely vivid. This is something the film has in common with other Walter Hill movies such as THE LONG RIDERS and 48 HRS. Other qualities of SOUTHERN COMFORT are also pleasing to mention.

The pacing of the story is also something to behold, with many unexpected surprises occurring that take the viewer unawares. When one thinks matters will go one way, they go in another direction. This only emphasizes how SOUTHERN COMFORT is never predictable. It does not follow the route of other movies which delight in seeing their characters dispatched just for cheap thrills, or visual spectacle. Each and every death in the movie is shocking to witness, but even in this department, the movie is quite spare. SOUTHERN COMFORT cuts away from death scenes early, proving that what is not shown on screen can be even more devastating to the audience. The mind can conjure up worse visions with a minimum of effort, and the film is all the better for this. Walter Hill is to be credited for this, and every area of the film, for making a thoroughly well-executed motion picture which never goes too far, and does hold back when it really counts to its advantage. One of Walter Hill's best films, and an excellent military-themed movie, SOUTHERN COMFORT is a one-of-a-kind viewing experience.

Acting: SOUTHERN COMFORT has a unique cast of actors who bring true life to the film. Keith Carradine, as Spencer, has a charm, sense of serenity, and way about him that works to the movie's benefit. With his floppy blonde hair and easy-going manner, Mr Carradine is a telling contrast to Powers Boothe's Hardin. Powers Boothe, as Hardin, Spencer's best friend, is equally excellent. A performer with a penetrating stare that says so much without having to utter a word, Mr Boothe is the movie's fascinating incarnation of someone whose survival instinct, and sharp intuition, is his raison d'etre in life. The friendship of Spencer and Hardin is the foundation upon which the film rests, and it is a testament to the actors that their chemistry came through with such clarity. The backwards and forwards of their friendship is realistic to watch, and one of the movie's best qualities. Alan Autry, as Bowden, is another great performer. Playing a mentally unbalanced character is never an easy task, but Mr Autry carries this off to perfection, making the viewer empathize with him even during his most testing moments onscreen. His expressive visage makes his emotions evident for the audience to discern without the use of dialogue. Five other actors are worthy of mention for their contributions to SOUTHERN COMFORT.

Fred Ward, as the mean, hard-faced Reece, also gives a great account of himself in SOUTHERN COMFORT. The movie's best villain is utterly watchable at all times, and one does feel sympathy at his fate in the film, despite his previous insidious actions. Les Lannom is also excellent as the grasping Casper, who tries to wrest control over the others, but is not supported in his quest to be leader. Franklyn Seales, as the passionate Simms, delivers a moving performance. His final scenes are some of the most affecting in the movie, and Mr Seales gives it his all. Lewis Smith, as the excitable Stuckey, who initiates the action in the movie, as with Mr Seales, also makes his scenes count, especially his demise, making this surprising twist of events thoroughly horrific to witness. The final acting of note in SOUTHERN COMFORT was by T.K. Carter as Cribbs. Mr Carter's sense of humor, and natural manner, work as a foil to the more serious characters, and his fate is one of the movie's most shocking moments.

Soundtrack: SOUTHERN COMFORT has a lean soundtrack, mainly consisting of Ry Cooder's haunting instrumental score which is played during the film's opening, and closing credits. Parts of the soundtrack are used throughout the movie at irregular intervals, which works well as it heightens suspense without ever being overused. The other main use of music is in the last part of the film during the Cajun town scenes. The music here during the Cajun song and dance sequence is utterly excellent, contrasting the heightened dramatic scenes which juxtapose the merriment. 

Mise-en-scene: As the film is overwhelmingly set in the Louisiana bayous, these are used to formidable effect in the movie. The lakes, endless forests, and large trees all create a sense of loss and doom, as if there is no escape for the characters. This is one of the strongest aspects of SOUTHERN COMFORT, and something no studio could duplicate for its sheer realism. Photography by Andrew Laszlo is clear and precise, without ever making the location pretty which was not the intention with this film, which would have taken away its power, and sense of foreboding horror.

Notable Acting Performances: Keith Carradine, Powers Boothe, Alan Autry, Fred Ward, Les Lannom, Franklyn Seales, Lewis Smith, T.K. Carter.

Suitability for young viewers: No. Frequent coarse language, adult themes, high-level violence.

Overall Grade: A

Link: IMDB Page

Trailer