Au bout du chemin

End Of The Road is a compelling and bizarre film from that most elusive of genres, the "acid" film. Okay, so that may not be an officially recognized genre. All the same this title emerges from the hippie generation as an indictment of "establishment" ethos complete with a generous helping of surrealism and "acid-friendly" scenery.

In and of itself, its a pompous and wholly unremarkable film. It tries to play itself of intellectual and deep, and only comes off as superficial and pointless. The whole is definitely not as valuable of its parts. What is remarkable is the brilliant performance of James Earl Jones as Doctor D who is experimenting with radical psychological treatments that wreak of the mythical MK Ultra mind control experiments alleged to be performed by the CIA and legendary escaped Nazi scientist Joseph Goebles (sp).

Jones really pulls out all the stops and lets loose in this role. He bombards Stacy Keach with traumatic sounds and images as part of his treatment, and he twists and contorts his voice, body, and mannerisms to paint an over the top picture of a cutting edge scientist walking a fine line between sanity and lunacy.

It's hard to suggest that you, or anyone would enjoy this film, but if you have a taste for the twisted, you'll certainly appreciate bearing witness to this oddly beautiful artistic train wreck of a movie.

I saw this film when it was released and was totally mesmerized by the story and the performances. When I found it on video, (twenty years later) I immediately rented it and had a number of friends over to watch it. I couldn't believe how pompous and overdone the film was. My film recomendations to my friends have suffered ever since.

THE PLOT: Bizarre adaption of John Barth's already bizarre novel detailing the story of a man (Keach) who goes into a catatonic state at a train station. He is sent to a strange mental hospital run by a weird man named Dr D (Jones). After he is considered to be 'cured' he takes a job as a college Professor and proceeds to have an affair with the wife of one of his colleagues.

THE NEGATIVE: It has been noted that author Barth disliked this film version of his novel and it is easy to see why. It gives only a basic outline of the story while leaving out all of the deeper meanings. It also tried to tie the story to all the chaos and rebellion of the 60's even though the book was written in 1955. The final result is a very confusing and off putting mess with nothing coming together at all. The characters all act very odd and with no understanding of their motivations it becomes impossible for the viewer to relate to them or anything else that goes on. Most viewers, especially those that are not familiar with the John Barth book, will easily become confused and turned off by this film after the first five or ten minutes if not sooner.

THE POSITIVE: The film-making style is refreshingly audacious in a way that is rarely seen anymore. Everything is just thrown out there no matter how outrageous with little or no regard to mainstream acceptance. The kinetic imagery and music has a certain hypnotic effect that keeps you connected to it even if you don't understand what is going on. The film culminates with a very intense, grizzly, and tasteless abortion scene that will not be soon forgotten by anyone who sees it. Jones gives one of the most bizarre and over-the-top performances that you will ever see anywhere. Anyone who is a fan of his or has an interest in acting MUST see him in this film.

THE LOWDOWN: The film is a misfired experiment that manages to be enough of a period artifact to make it an interesting curio. It definitely has the ability to stay with you for awhile after it is over.

THE RATING: 6 out of 10.

I would like to refute many of the negative comments about this film. It is the closest, I believe, that an American film of the period came to emulating the look and sound of late 60s' Godard or Bergman's Persona. End of the Road would be be a perfect companion to a series of films that might include Performance, the aforementioned Bergman, Mickey One (which director Avakian edited), or William Friedkin's adaptation of The Birthday Party. I am a big fan of Barth's novel, but I feel this radical adaptation extends the original in a way that is equally groundbreaking. The novel was more about the fifties, while the film is shaped by the explosive events of 1968 - Tet, the Kennedy and King assassinations, student riots, the rise of Nixon/Agnew - which take the whole idea of the novel's "politics of the personal" to another level. A DVD restoration of this misunderstood landmark is well overdue.

Man, it is hard to digest some of the bile and acrid animosity of many of the comments here. I saw this when it first came out right as I was about to graduate high school in 1970, and I loved it. I had not read John Barth's novel, so I had no prejudice about the approach. I have watched the film a couple of times since on video (though it is virtually impossible to find) and must testify it more than holds up. Stacey Keach really gives a great, subtly nuanced performance (perhaps the best of his career when he was still getting 'serious' roles) as the guy plagued by occasional catatonia, and James Earl Jones is also fantastic as a brilliant, maverick innovator of psychiatry (think Wilhelm Reich by way of Malcolm X) who, at the end, may be a bit too godlike for his own good. I personally think Terry Southern is a wonderful writer, and I love all of the films from his work from the more favorably acknowledged, like DR. STRANGELOVE and MAGIC Christian, to the less so (CANDY, which is probably my favorite). There are some crazy juxtapositions here as well as absurd humor (that would do the 1920s-30s surrealists proud), but the humor is not stupid by any means. Director Aram Avakian and Terry Southern were a good pairing. It's too bad that they never did another film together. I can only guess that this dark, dark comedy that is about America in the sixties and about human vulnerability, hubris and arrogance touched many raw nerves with not only some of the IMDb commentators, but the few people who saw it on its initial release. A totally uncompromising picture with the courage of it's twisted convictions. The intention of director, screenwriter and cast was to rattle complacent, uptight people's cages -and, judging from the invective here, I'd say they succeeded in spades. I will echo: whomever owns the rights to END OF THE ROAD, put it out on DVD - NOW!