I’ve watched a lot of great films
for the first time this year and an echelon below Citizen Kane and Man with a Movie Camera is a film like Easy
Rider. Written by actors Peter Fonda and Dennis Hopper and directed by
Hopper it’s a motorcycle road movie about two long haired guys travelling
across America,
encountering intolerance and hatred. Released in 1969 against the backdrop of
the Civil Rights movement, the film chooses to focus on intolerance against the
freedom loving hippie movement of the same era but its central characters can
be used to denote any group or people that experienced hate and intolerance.
Produced independently and with a
budget of around $360,000, the film went on to become a huge mainstream success,
creating enormous profits and winning Hopper an award at the Cannes Film
Festival. It has since become a classic and a film that opened my eyes to the counter-culture movement of the 1960s, a movement that has traditionally been
overlooked by mainstream media. Dennis Hopper said about Easy Rider that the films that were being made at the time weren’t
about the America
that he saw and he knew and this film is just that. It’s about the America of the
youth, the hair, the drugs, the ideals, the freedom and the hatred.
As well as being a road movie,
it’s also a Western and a great one at that. Instead of horseback, the two
cowboys ride into town in the backs of Harley-Davidsons, not shooting their
guns but revving their engines. They’re the outlaws and unwanted, sleeping by camp-fires, unable to find a room to take them in town. At the beginning of the
film we see the two men, Fonda’s Wyatt and Hopper’s Billy, buy and then sell a
large quantity of cocaine and stash the money in their bike’s fuel tanks. We
know they’re the bad guys but they’re not really
bad. They’re the rogues that we want to be. Living on the edge of the law but
living how they want to live. Along the way the pair bumps into young lawyer
George Hanson (Jack Nicholson) who explains the duo perfectly. He tells them
that they represent freedom, the sort of freedom that everyone wants but few
have. Although Americans think themselves to be free, few of them truly are and
those who are scare those who aren’t. This he tells them is why they experience
such hostility. The scene itself is a highlight, one of many.
The Western style of film making
extends further, beyond the obvious name connotations, to include the
magnificent scenery which is captured by cinematographer Laszlo Kovacs. Kovacs
creates some stunning shots of the bikers against the mountains and canyons of
the West and also manages to wonderfully frame the two bikes as they dart and
weave along the empty roads. Another visual treat which caught my attention was
the unorthodox editing. On several occasions, Hopper made the decision to
transition scenes using a jump cut combined with a flash forward. This takes
the form of four frames from the two adjoining scenes going back and forth
(i.e. scene A,B,A,B,A,B,A,B) until scene B is allowed to run. It’s a device
that is used sparingly but had a big impact on the film. Combined with one or
two extreme flash forwards and improvised feel, it adds to the psychedelic
nature of the film.
Speaking of all things
psychedelic, the movie came on the back of the Summer of love and the explosion
of counter-culture ideals such as free love and drug taking. There are several
scenes of drug taking in the movie and unusually all of them feature the real
substances. If someone ‘smokes a joint’ they really smoke a joint. If they
‘drop acid’ they really drop acid. This might have just been because the cast
and crew were already doing so off camera but the impact is that the
performances seem real (because they are) and it also helps to break down
censorship barriers. Just think that nine years earlier Hitchcock was battling
the censors in order to be allowed to show a toilet being flushed in Psycho and here are Fonda and Hopper,
tripping their nuts on acid. It goes to show the huge shift in taste and
censorship over the decade. The psychedelic nature of the shooting and visuals
comes to a head during an incredible scene late on in a graveyard. Its
avant-garde style and visionary filming took me a while to get on board with
but when I went with it, it blew me away. The performances during this scene in
particular are outstanding with Peter Fonda allowing himself to go deeper into
personal tragedy for the role that many actors have before or since.
Fonda is excellent throughout,
playing the calmer, easier going of the two leads. His level head and see what
happens attitude is nicely off-set by Hopper’s edgier, more chaotic
personality. Alongside the terrific central performances (no one says “man”
quite like Dennis Hopper), Jack Nicholson delivers a now trademark off-kilter
performance. He comes and goes like a flash but leaves a huge imprint on the
movie. The hicks from the small town in Louisiana
are also excellent though not actors at all. Hopper sent a location scout ahead
of production to find the town and local actors but when the production
arrived, Hopper decided to use the real locals who were more than happy to spew
bile and hatred in the direction of the long haired, easy riders. The scene set
inside the café of the one horse town is deeply uncomfortable and made more so
given that it’s pretty much real.
The film’s soundtrack is
something that is worthy of note. Featuring the likes of Bob Dylan, Jimi
Hendrix and famously Steppenwolf’s Born
to be Wild, it was one of the first movies to opt for existing songs rather
than a film score. The music was chosen mainly from the record collections of
those involved with the production and fits the narrative and visuals
perfectly. Indeed when Crosby, Stills &
Nash viewed a rough cut they opted not to compose a score, as had been agreed,
as they felt unable to improve on the existing music.
I first got into film through the
early movies of Martin Scorsese and this film reminded me very much of Mean Streets in particular. Both share a
fast paced, expertly avant-garde approach to film making. Both are innovative
and come from a place close to the film maker’s hearts. Both also showed
mainstream Hollywood what could be done by a
visionary film maker on a small budget and helped to spur the New Hollywood era
of film making that was responsible for producing masterpieces such as The Graduate, 2001: A Space Odyssey, Midnight
Cowboy, The Godfather, Serpico, Chinatown, Rocky and countless others. Easy Rider came right at the beginning
of this era and showed what was possible given the right people and ideas. It
features tremendous film craft, interesting creative decisions and a shocking
ending that I hadn’t predicted. I’m annoyed that it took me twenty-seven years
to watch it but I’m so glad that I finally have.
10/10
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