Mi vida es mi vida

This film is a classic because it operates and works on every level imaginable, a truly evocative film. Other posters have elucidated upon and discussed the musicology of it, and the significance of Chopin. I'll take their word for it, and not go there. That's out of my league. And, as others have noted, the film is an exploration and study of character, which it certainly is. All that and more. I see the film as being in its own way a period piece unto itself, the period being films made in the late 60s and early 70s. It is quintessentially representative of what was an important movie circa 1970. Of course the storyline of an alienated young man (Jack Nicholson as Robert Dupea), walking away from all that is expected of him, and indeed walking away --if not running away-- from his prodigious gifts, and doing it all with a cocky attitude, no longer resonates quite the way it did in 1970. But, if you weren't around in 1970, trust me, it resonated well then. It was a theme that seemed important and meaningful at the time, even though the character's motivations for his actions are never really explained and remain something of a blank slate for the viewer to fill in. In 1970, when the concept of an "identity crises" was big, it worked to just suggest and imply that Dupea felt the need to Quixotically search out and determine for himself what was important for him. That dovetailed with another important component in many movies of that era --you never explain yourself, because if you explain things, you trivialize it all and ruin it. Or, as Jenny, Ali McGraw's character in Love Story (also a 1970 film) put it, "Love means never having to say you're sorry."

Meanwhile, unfolding alongside the Dupea character, was Karen Black's tour de force performance as the big-haired clingy-dependent waitress girlfriend, Rayette, and doing it to a medley of apropos Tammy Wynette tunes. Karen Black's performance perfectly captured and spot-on nailed an almost ubiquitous sort of woman prevalent in that era, when the social changes wrought by the women's movement had not yet taken fruit.

As for the notorious diner scene, this one scene essentially dominates the whole movie. It is something that people who have seen the movie will bring up and talk about, even decades later. Yet the scene is in no way pivotal or important to the story. At most it once and for all permanently affixes in the viewers' minds that Dupea was an impulsively flippant and angry person, not one to meekly abide any of life's minor frustrations. But we were already getting that picture of him before this scene happens. And, courtesy of Dupea, the scene provides a snippet of gratuitous social commentary about inflexibility and the stupidity of mindless adherence to meaningless rules. Something for the viewers to cheer and say, "I can relate to that!" Those things aside, to me the real value of the scene was that it provided an entertaining contrast in a bleak drama, a needed change of pace. But regardless of whether it was a statement about Dupea's attitude, or a social comment about stupid rules, or a needed amusing interlude, no matter which of those it is, its lasting impression renders its importance out of proportion to the movie as a whole. Surely, as he made this film, director Bob Rafelson's never intended that 35 years later this particular scene be the main thing viewers took away and remembered about the film. In this sense, as entertaining as it is, the scene therefore must be viewed as being a bit of a story-telling flaw. In retrospect, it should have been toned down just a skosh. But, then, on the other hand, were it not for this scene, perhaps the film would hardly be remembered at all. It is already a largely overlooked masterpiece.

This movie pops up on the movie channels on a semi-regular basis, and when it does I always stop and am riveted. The cinematography is superb. The acting is superb. Nicholson turning in one of the performances from that era that made him the unhinged star in the first place, long before he became a parody of himself. But be warned, it is not a "happy" film. It is the product of an era that did not as a rule produce happy films. But it is nevertheless a film that must be seen.

After reading all of the reviews listed here on IMDB, it is incomprehensible to me that not one has grasped the point of the story. This is in spite of the title giving the whole thing away. Come on now guys... The movie is titled Five Easy Pieces because that's all the Jack Nicholson character could play. The pieces are classical, true, and great examples of classics. However, they are evidently not among the most difficult pieces.

I am astonished that several reviewers wondered why he would give up such a great chance to be a classical musician. Why did he reject his talented and maybe wealthy family to hob nob with those having little or no appreciation of classical music or the life style? (As more than one of the reviewers said.) He left his family home and tried to lose himself because he did simply not have the talent to pursue a career as a concert pianist. He clearly could play well, but this is not the same as having the talent to perform professionally. His sister, Partita, gives us the example of one who does meet those standards, as well as his brother, Carl Fidelio.

What does one do when he just can't do what is expected no matter how hard he tries? He moves from place to place and from person to person because nothing and no one can help him overcome his failure.

Previously known only for creating 'The Monkees', Bob Rafelson produced an underrated masterpiece when he made 'Five Easy Pieces', a film that deserves to be a lot better known. Jack Nicholson, typically intense but atypically understated, has possibly his finest hour as Bobby Duprea, a self-hating misogynist ill at ease with himself and the world. Many people will, when thinking of Nicholson, bring to mind his pantomime pyschopath Johnny from 'The Shining'; but Bobby, a profoundly human creation, is actually far more scary. Elsewhere the film features characteristically gorgeous cinematography from Laszlo Kovaks; a soundtrack that skilfully offsets Tammy Wynette and Chopin; excellent writing throughout and some very black humour. Like a less extreme version of Mike Leigh's 'Naked', and bristling with uncomfortable truth, 'Five Easy Pieces' is a true classic of 1970s cinema. Few films today are as good.

`Five Easy Pieces' is basically a youth movie. Jack Nicholson plays a young man who leaves his cultured home to work on oilrigs in Texas. He is crude and lives his life around getting drunk and picking up dippy young girls, (well played by Sally Struthers). He lives with Rayette, an uneducated waitress, who he mistreats. He mistreats most people in this movie relying on his charm to get through life. He makes fun of his brother, Carl, and has sex with his fiancé. I did not like the character of Robert Dupea. He used people then abandoned them when things got too serious. He could not accept any responsibility and looked for the easy way to live life. That is why it was a youth movie. It had this adolescent view of life. His family was portrayed as pompous creatures and his contempt for Rayette was obvious. Rayette, wonderfully played by Karen Black, was the most honest person in the movie but she was an object of derision because she was uneducated. Robert's treatment of her was contemptible. Robert cared for no one but Robert. Did he leave home to find himself? The self he found was crude and self-centered and was probably the cause of his disillusionment. His meaningful mirror gazing was more self-loathing than anything. He really needed to grow up

"Five Easy Pieces" was one of the most revered films of the 1970s. It was the film that showed audiences what Jack Nicholson could do, after having worked for many years in movies that were seen only by real cinephiles, but not by a wider audiences. Not having seen the film in a long time, we decided to watch it when it showed on cable recently. The only thing is the copy we saw was not anamorphic in format, which on key scenes almost shows a blank screen while the characters talk off camera!

Bob Rafelson and Carole Eastman created a screen play that dealt with existential themes, a rarity in the American cinema. Mr. Rafelson was at the height of his creative period, something that later projects seem to contradict the promise he showed at the time.

Bobby Dupea, the main character of the story, is a complex individual who has left a life of privilege and culture behind to become an oil rig worker and getting away from his previous life. At the time we meet him, he is involved with Rayette, a simple woman who loves him, but one can see how different they are. That contrast comes more obvious when Bobby goes back home and meets Catherine, his brother's fiancée, who is a musician and seem to be more attuned with Bobby than the simple minded Rayette.

"Five Easy Pieces" was a film that showcased the enormously talented Jack Nicholson doing some interesting work. The measure of his acting ability is seen about half way in the movie as Bobby, Rayette, and the two lesbian hitchhikers have stopped at a diner. Bobby's meal order request creates a match of words in which Mr. Nicholson shows what he is capable of doing.

The film concludes with a puzzling scene, as Bobby and Rayette are heading back home. We watch them stopping at a gas station and little prepares us for what happens next. In a way, we have seen all along the film how restless Bobby has become and it's clear that in spite of his being with Rayette, she will never understands how to make him happy at all.

The reason for watching "Five Easy Pieces" is Jack Nicholson. His character is the most interesting one in the film and he does an excellent job in creating the tension behind this complex man he portraits. Karen Black's Rayette is annoying at times because of her whining. Susan Anspach comes out better playing Catherine. Some other familiar faces in the cast are, Sally Struthers, Ralph White, Lois Smith, Billy Green Bush and Fannie Flagg.

"Five Easy Pieces" is one of the best films of that decade.