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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THE KING OF MARVIN GARDENS (1972)

Title: THE KING OF MARVIN GARDENS

Year of Release: 1972

Director: Bob Rafelson

Genre: Drama

Synopsis: A radio disc jockey becomes involved in his older brother's fantastical get rich quick and other schemes, trying to set him on the straight and narrow, and away from an aging beauty and her stepdaughter but, fate has other ideas.

Within a film history context: Stories of families, in this case of two brothers, have been featured variously through cinema history. DUEL IN THE SUN (1946) and SABRINA (1954) are notable examples from the 1940s and 1950s respectively, each pitting one brother against the other for the love of a woman, with contrasting results. With the 1970s, the decade of THE KING OF MARVIN GARDENS came movies such as THE GODFATHER (1972), JUNIOR BONNER (1972), THE LAST AMERICAN HERO (1973), LOST HORIZON (1973), and THE GRAVY TRAIN (1974). Unlike the examples from 1946 and 1954, these 1970s films did not involve brothers battling over a woman. These movies had brothers in combat for a variety of reasons, such as the family business in THE GODFATHER, with THE GRAVY TRAIN showcasing brothers in a loving relationship who defend each other to the very end. JUNIOR BONNER and THE LAST AMERICAN HERO spotlighted brothers who had personal rivalries unconnected to romantic entanglements, but which were on a personal level.

In the case of LOST HORIZON, on the other hand, two brothers were at odds for one of them to not become involved with a woman, which was in definite opposition to the other movies. THE KING OF MARVIN GARDENS has a similar predicament, in which one brother tries to dissuade the other from pursuing a relationship with a woman and her stepdaughter, with tragic results. Unlike the other movies mentioned, the themes of brotherly love and loyalty are handled in an exhaustive manner in THE KING OF MARVIN GARDENS, taking up the majority of the movie's screen time. This has the effect of making the film one of the most intimate, honest explorations of brotherly relationships in the history of cinema.

Overview: THE KING OF MARVIN GARDENS was director Bob Rafelson's third film, released after FIVE EASY PIECES (1970) and his first feature film, the irreverent HEAD (1968). The majority of his films are character-driven in nature, with some sporadic forays into suspense such as THE POSTMAN ALWAYS RINGS TWICE (1981). THE KING OF MARVIN GARDENS falls into the category of Mr Rafelson's character-driven dramas, a tightly directed, engrossing drama of two brothers, and how their bond is tested by outsiders but, events, and their own idiosyncrasies, threaten this close kinship.

Mr Rafelson has made a film which thoroughly examines the relationship of two brothers, opening them to the audience with all their flaws and fantasies intact for viewers to contemplate. This is the excellent component of the film, its most compelling aspect. There are some slow stretches in the film which dull the effect to a small degree, but Mr Rafelson makes up for these with his showcasing of the central brother-brother relationship. The female characters in THE KING OF MARVIN GARDENS bring tension and complexity to the film, testing the brotherly dynamic, and add an unpredictability which showcases further nuances in the brothers. On the same note, there is the impression that if the distaff side did not appear in the film there was enough material in the brother-brother dynamic that could yet have been covered, so compelling was the relationship between the two central protagonists.

Acting: The acting in THE KING OF MARVIN GARDENS is of a very high standard, with two performances in particular standing out for their realism. Bruce Dern is an actor who always gives his best on film, and this movie is no exception. An engaging, energetic performer who in this movie does not hold back in the role of Jason Stabler, the silver-tongued, roguish cad. Mr Dern infuses his role with personality and depth, and one wants to believe his pipe dreams, and hope that they turn out as he wishes. Jack Nicholson is more than a match for Mr Dern as his pensive brother, David Stabler, in THE KING OF MARVIN GARDENS. Mr Nicholson is the real surprise, and revelation in the movie.

Usually cast in roles which take advantage of his penchant for off the wall antics and scene-stealing, in this film he takes on the role of the quieter, more thoughtful brother. This works so beautifully as Mr Nicholson stays largely composed in THE KING OF MARVIN GARDENS, underplaying his role, that it creates a great contrast with Bruce Dern. This choice makes their relationship all the more poignant, and realistic. This is my favourite performance from Jack Nicholson, and the effect of his restraint works all the more in an emotional sense especially at the film's conclusion.

Soundtrack: THE KING OF MARVIN GARDENS has relatively no score or music, the naturalistic background noise the only soundtrack the film possesses. The use of sound or music is most evident when Sally welcomes David to Atlantic City accompanied by a small orchestral ensemble, a nightclub visit, and, the faux Miss America pageant where the principals participate. The film largely stands on its own without any theme music, preferring to concentrate on the visuals which draws attention to both these, and the actors.

Mise-en-scene: The imagery in THE KING OF MARVIN GARDENS is what remains with the viewer long after the movie has ended. The cinematography has captured a bleak winter in Atlantic City to maximum effect, and it reflects the chilly emotions in play for the characters in the movie, particularly Jason Stabler's tenuous relationship with aging beauty Sally. Aside from this, THE KING OF MARVIN GARDENS utilizes other outdoor locations such as the train station where David and Sally first meet, the beach where the brothers are on horseback, and the shop that David and Jason visit, and these add a freshness and veracity to the proceedings. Interior locations such as the slightly garish hotel room in which the brothers and women are staying reflects the raw emotions and scenes that take place inside here. With the red drapes and carpeting this infers that what is taking place between the characters here is akin to a theatrical performance, replete with barnstorming emotions between them for the audience to witness, and devour.

Award-worthy performances in my opinion: Jack Nicholson, Bruce Dern.

Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page

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DRIVE, HE SAID (1971)

Title: DRIVE, HE SAID

Year of Release: 1971

Director: Jack Nicholson

Genre: Drama

Synopsis: Basketball champion and university student Hector Bloom carries on an affair with his professor's girlfriend, while Hector's friend Gabriel suffers a nervous breakdown attempting to avoid the draft for Vietnam.

Within a film history context: Character studies of sports stars have often been featured throughout cinema history. Comparable films from around the late 1960s and early 1970s come to mind, such as a professional skier in DOWNHILL RACER (1969), a tennis pro in THE CHRISTIAN LICORICE STORE (1971), and a stock car champion in THE LAST AMERICAN HERO (1973). These movies explored different sporting personalities, their drive to the top of their game, with the concurrent effect that their personal lives clashed with their competitive spirit, and were polar opposites in nature. DRIVE, HE SAID was no different, examining the professional and personal life of a basketball player, but unlike the other two films, was much freer in highlighting the protagonist's sexual, and other extracurricular activities. It was also notable for its dialogue which was sprinkled with four-letter words, and inclusion of both male, and female frontal nudity. This frank content set it apart from other movies around this era which were more restrained in these areas.

In addition to being a character study, DRIVE, HE SAID was also among a group of films with a university campus theme produced in the early 1970s. These included movies such as Richard Rush's GETTING STRAIGHT (1970), Michelangelo Antonioni's ZABRISKIE POINT (1970), Stuart Hagmann's THE STRAWBERRY STATEMENT (1970), and Stanley Kramer's R.P.M (1970). While these films covered thematic territory similar to DRIVE, HE SAID in terms of alienation and disillusionment, the movie differed from these in how it moved away from the depiction of lecture theatres and other university locales. The closest the film was to spotlighting university rooms was the basketball auditorium, the outside grounds of the establishment, and, most notably, the science laboratory at the film's conclusion.

Overview: DRIVE, HE SAID was actor Jack Nicholson's directorial debut, followed by GOIN' SOUTH (1978) and THE TWO JAKES (1990). DRIVE, HE SAID explores the life of ace basketball player, and university student, Hector Bloom. While the movie's events follow Hector's life and loves, the impression is that the protagonist plays, in retrospect, more of a secondary role in the narrative, which shifts the emphasis to the supporting characters. This may not always be detrimental in cinema, but in the case of DRIVE, HE SAID it makes Hector seem like a dullard, and just a viewer in his life more than an active participant. It also renders his relationship with Olive, and their various ups and downs, as rather boring, instead of being the film's primary focus. Despite these deficiencies, there are some very good aspects to the movie.

The filming of the basketball sequences are exciting, the camerawork capturing the action as if the audience was there in the stadium witnessing it first hand. The behind the scenes shower room frolics give the characters a depth and identity away from their public image as basketball champions. Apart from the basketball scenes the supermarket segments are entertaining, and takes some steam away from the movie by giving it a lighter air. Gabriel's draft dodging, shameless behaviour, and eventual breakdown, though, are the best part of the film. These are handled in an eye-opening but sympathetic manner, particularly the science laboratory scene, without making the character seem like a caricature. In all, DRIVE, HE SAID is an insightful, thoughtful film with some very interesting elements, but, is not coherent as a whole.

Acting: This is a movie where the acting is sound, with some miscasting in pivotal roles which hampers the film somewhat, but several very striking performances abound. In the lead role William Tepper does a passable job, and is watchable, but, unfortunately, lacks the charisma which would entirely convince the viewer of his plight. This has the effect of him passing the baton to other performers in the film to shine, and also, functioning more as a plot device than as a real character. The role would have been much better suited to Jeff Bridges, who, after playing basketball in HALLS OF ANGER (1970) would have brought more drama and full-blooded emotion to the part. The lead role notwithstanding, Bruce Dern, on the other hand, turns in a brilliant, finely tuned performance as Hector's coach who does his best to keep Mr Tepper's character on an even keel professionally, but finding difficulty due to Hector Bloom's excesses. Presenting Bruce Dern onscreen without his usual moustache was an inspired idea, and works beautifully in DRIVE, HE SAID. The camera feasted upon Mr Dern's face, particularly his eyes, which expressed so many different emotions, and also afforded him an even more authoritative aura than other films in which he had appeared with his facial hair.

Apart from Bruce Dern, Michael Margotta also offers a standout performance as Hector's troubled, drug-addicted friend Gabriel in the film. He has by far the most challenging role in DRIVE, HE SAID, given the character's mood swings and extreme behaviour throughout the film. It is a credit to Mr Margotta that he maintained audience interest in his character who could be thoroughly resistible at times. The pity felt towards the character at the film's end is justified, and Mr Margotta plays these scenes to maximum effect, often without uttering a single word during his most manic moments. Additionally, there were several other performances in the film which merit discussion.

Karen Black, a performer who generally shines in her roles, was given a part as Hector Bloom's secret dalliance Olive that severely undercut her energy. The role did not allow her to display the range and sensitivity that was so apparent in films such as FIVE EASY PIECES (1970), and BORN TO WIN (1971) to give a few examples. On the other hand, June Fairchild was lively as Gabriel's girlfriend Sylvie who also takes a shine to Hector Bloom. There was the feeling, though, that she could have been further utilized in a better capacity in DRIVE, HE SAID instead of just having her giggling in her scenes, and running around naked. She had an energy and sass that was contagious, and deserved more coverage in the film than she received.

Soundtrack: The music used during the opening basketball scenes adds a pulsating, thumping rhythm to the proceedings, perfectly matching, and enhancing, the action. This music is employed at various other points in the movie, and works just as well, emphasising the nervy, jazzy energy of DRIVE, HE SAID.

Mise-en-scene: The sets and spaces used in the film are naturalistic and appropriate to the characters and the action taking place. The scenes of hijinks between the basketball players in the shower stalls are realistic, and add dimension to the characters. It is as if the audience is afforded an uncensored, revealing look at what happens behind the scenes between athletes, with the shower faucets running, and uninhibited displays of male nudity. On the other hand, the supermarket scenes between Hector and Olive have a certain flair about them due to their location. This location provides an authentic backdrop to the argument that is taking place between them, adding an everyday feel to it, with the restrictions of the store used to full effect.

Apart from the public areas in the film, the characters' places of living are also well designed. The abode that Hector and Gabriel share is messy, which parallels their stormy private lives, in particular Gabriel's shattered state of mind. In complete contrast to this, the house that Olive lives in with her boyfriend, university professor Richard, is homey and well-appointed. With a comfortable kitchen and living room that have wide windows, offering a view of the outside world from this vantage point, the living room exuding a graceful air, Richard and Olive's home is the most attractive of the settings featured in DRIVE, HE SAID.

Award-worthy performances in my opinion: Bruce Dern, Michael Margotta, June Fairchild.

Suitability for young viewers: No. Frequent coarse language, male and female nudity, adult themes, medium-level violence, drug use.

Overall Grade: C

Link: IMDB Page

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