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Robert Blake has one of the best roles of his career as John Wintergreen, a dedicated motorcycle cop who yearns for more in life. What he'd really like is to be a detective - to wear a suit, a Stetson, and "get paid to think". He gets his chance when he discovers what first appears to be a suicide, but which John determines had to have been a murder. When John shows that he's got what it takes for the detective business, a charismatic hotshot named Harve Poole (Mitch Ryan) takes him under his wing, hiring John as a driver. What happens is that John becomes quite disillusioned watching Harve at work. John strives to be a good, kind, honest man, and doesn't like Harves' approach to law enforcement. A revelation regarding his colleague and good friend "Zipper" (Billy Green Bush) only adds to his dismay.

"Electra Glide in Blue" marked the filmmaking debut for James William Guercio, a veteran of the music industry who, with the help of ace cinematographer Conrad Hall, brings a lot of visual poetry which is not the action-packed murder mystery that some viewers might expect, or hope, it to be. That aspect of this film is never heavily stressed, as the movie clearly functions much more as a series of character vignettes. It's got a very deliberate pace to it, as it gives a number of its major players opportunities to tear into some meaty roles. Blake and Bush have fine chemistry and are quite engaging; you believe them as buddies. Ryan commands the screen whenever he's around; he's an excellent character actor (whom you may know best as the villain in "Lethal Weapon") who gives his role some real nuance. Royal Dano is a little under utilized as a grumpy coroner with whom John butts heads, but Jeannine Riley is wonderful as the barmaid Jolene, and Elisha Cook Jr. is as delightful as ever in the role of sad old sack Willie. Considering Guercios' background, it's not a surprise that some of the supporting players come from the music business - screenwriter Hawk Wolinski as the van driving hippie, and Peter Cetera and Terry Kath from the band Chicago; Cetera, amusingly, plays a scruffy biker. Keep a sharp eye out for Nick Nolte, uncredited as an extra in the commune scene.

The film turns out to be a moving meditation on personal ideals and loneliness, and leads to a shattering conclusion. This conclusion is much in line with films of this time period, and takes its time to play out. It's the kind of thing you don't easily forget.

It's not hard to see why this would have a following. It's interesting and it's entertaining, and well worth a look.

Seven out of 10.

With those evocative images and that emotionally charged music, the final fifteen minutes are electrifying. It's all about America, and a terrible ten years of assassinations, Viet Nam, and countless other cultural strife. The film's ending is saying ... enough is enough. Let the healing begin. And as American culture bled in the late 1960s and early 1970s, so too did the emotional lives of individuals, like the hodgepodge of aggrieved characters that come and go in this story.

Seeing some of these people and listening to their individual stories of pain and suffering is John Wintergreen (Robert Blake), a by-the-book Arizona motorcycle cop, short on stature but tall on dreams. Sometimes with his partner Zipper (Billy Green Bush), "Big John" encounters these tormented souls, on the road mostly. That's his job. The film's story is an ode to the courage and nobility of ordinary Americans pained by reality with only their dreams to comfort them.

The film's disjointed plot begins with a killing. And this incident keeps the plot moving. But "Electra Glide In Blue" is mostly a character study, not a crime film. Color cinematography is quite good. Interior shots have lots of close-ups, even extreme close-ups. There's a lot of diffuse lighting. Exteriors are shot like a modern-day Western. Indeed, the look and feel of the film is similar in some ways to the old John Ford Westerns, like "The Searchers".

The plot is the main weakness of the film. Some parts are overplayed, like the chase scenes. There's a lack of continuity both in storyline and in visual elements. It's as if many scenes were shot impromptu, on the rush. And some of the acting is way over the top. However, Robert Blake does a fine job as America's everyday cop with his sense of principles.

This film reminds me in some ways of "Zabriskie Point" (1970), a counter culture film which has a powerful ending that helps to make up for earlier plot problems.

Based on a real-life event, "Electra Glide In Blue" gets off to a slow start. Even midway through, one wonders whether this film is going anywhere or has any point to it. It is, and it does. You just have to wait for that powerful ending and its cinematic message of a tormented America, from the point of view of one lonely cop, just doing his job.

Much chat about this film, especially now since it's 'finally' out on DVD in wide screen format.

This is the best film of a specialized genre from the late 60's through early 1970's exploring the counter-culture revolution and the "Establishment".

Unlike Easy Rider, A Clockwork Orange and Billy Jack, EGIB hits the nail on the head. There is evil everywhere, and good intentions don't always result in good outcomes.

Beautiful directorial debut by Guercio, awesome cinematography by Conrad Hall.

In essence, one of the best films from 1973.

Blake, as Big John Wintergreen, is the idealized American who is a Marine Corps veteran from Vietnam, comes back and wants to do the right thing: enforce the law fairly and not give favors to other cops nor hassle the hippies. He is "chopping the wood before him" by riding his Harley, working traffic and the concert and hoping to be a Detective. He tries hard and provides info to the lead Detective but he just can't bring himself to be brutal to the hippies at the commune or hassle the hippie VW Bus drivers. And he is a man, and hence tempted by the delightful Jolene. His traffic partner, Zipper, wants more but doesn't want to work for it like Wintergreen. And amidst all these human dynamics is a murder and theft of cash. Aside from being a great story, there are many specifics that will make you want to watch this film. The 70's flavor is a fun retrospective. The Police Bike vs. dirt bike chase scene is the greatest ever done. The desert scenery never looked better and the Monument Valley morning scene is a real treat. The soundtrack is perhaps the biggest star. You have Du-Wop, Country, Rock and jazz. Sadly, only parts of some songs are in the movie (or are spoken over) and the soundtrack is not available on CD. If you are ever in an old record store, look for the LP in a silver colored cover. You may even be lucky enough to get the posters and picture book that came with the album. I would love to see Rhino records give this soundtrack the same treatment they gave to Casablanca. You will like John Wintergreen and feel his joys and sorrows as his personal and professional life take their ups and downs.

A requiem for the death of the American hero. No, this is not the plot--this is what the movie accomplishes. Do not mistake this existential parable for what may otherwise seem like a superficial counter culture exploitation flick--it is nothing of the sort.

Record producer Guercio's first (and last) effort at filmmaking (captured beautifully by the late cinematographer Conrad Hall) leaves the viewer wondering "where have all the cowboys gone?" John Ford taught us that the hero rode a white horse and did the right thing, even if it killed him-, and in this Vietnam era analogue, Blake is a five foot four inch leather clad motorcycle cop writing speeding tickets along a lonely two lane road cutting through monument valley. With high hopes and ideals, he aspires not only to do more but to become more...and for a while he succeeds. But the world is different, people are different, and the old heroes he admired are not just obsolete--they are extinct.

We are inexorably drawn through his disillusionment and our own to an ending that is sad, tragic, and inevitable.

The seventies was a decade so overpopulated with great films that hundreds of truly great films went unheralded, and "Electra Glide in Blue" is one of these, sadly the singular film directed by the former Chicago manager, who penned the superb "Tell Me" sung by Terry Kath that plays at the end of the film. Like many late sixties/early seventies film the plot is insignificant, but rather a vehicle for lots of character development and social commentary. Blake is great as Wintergreen and the Conrad Hall cinematography is simply stunning, with the haunting lyricism of the ending beholding one of the finest closing shots in the history of cinema. Somewhere between the poetry of "Zabriskie Point " and "Easy Rider" (which it is frequently compared to but in many ways is the antithesis of) and the downbeat cop dramas that would follow during the decade like "The New Centurions" exists "Electra Glide in Blue", a gem certainly worthy of being rediscovered.

The title of this movie used to really bother me. What does it mean? Well Electra Glide is a type of motorbike used by the police in this movie so mystery solved. This is a 70s movie about a motorcycle cop who is bored with his job and dreams of moving to homicide because he thinks he will get more respect and excitement than his current role. When he is called on to investigate a suicide he has suspicions its a clear cut case and he gets the opportunity to work alongside a homicide detective for real. The movie is basically about someone wishing for another life while idolising others and having a grass is greener outlook in terms of occupation. During his stint working in homicide he comes to the realisation the grass isn't always greener and its best not to meet your idols should they turn out to be just as human and fallible as everyone else. This is typical of the big screen 70s with with wide vistas which feel very different to the current style of cinematography which seems cluttered in comparison. Its a slow moving story with plenty of room to breathe with the odd action scene. If you are fan of 70s movies or just someone who wants a change from the current style of action or cop movie this is a must see. This is an adult movie which does not rely on flashy action but story telling and great cinematography. Recommended for grown ups but not for generation short attention span.

American music producer James William Guercio's one-off dalliance with filmmaking, ELECTRA GLIDE IN BLUE is made when he is only 28-year-old. It stars Robert Blake as a motorcycle cop Johnny Wintergreen who patrols rural Arizona highways and aspires to be a homicidal officer.

The movie opens with a promising panache hardly betrays that Guercio is a greenhorn, conjecturing through its voyeuristic close-ups, audience would soon realize a face-unshown man prepares to kill himself, yet, Guercio's camera also cunningly suggests that he is cooking beef streaks at the same time. Then, boom! He blows himself dead through a shotgun, which unusually aims to his chest rather than the usual easy target, the head, it compellingly sets a paradoxical situation that one immediately knows there is something fishy about the whole act.

Also, before the title card, Guercio takes a tongue-in-cheek tack to introduce our unlikely hero, big Johnny, the camera lurks and swirls in the apartment where Johnny expertly gratifies Jolene (Riley) in bed, before revealing that Johnny is small in stature. When a man's masculinity is stunted by his appearances, it gives audience an idea why he is so eager to achieve something, to compensate the ingrained inferiority complex is a shoo-in. So the apparent-suicidal case becomes his stepping stone to be recruited by detective Harve Poole (Ryan) for his astute observation that it is indeed a murder underneath the hatched facade.

But the ensuing police procedural dampens Johnny's driving enthusiasm, especially after witnessing Harve hectors physically abuses and a group of hippies to milk information about their prime suspect, a drug dealer Bob Zembo (a cameo of Peter Cetera, one of the four CHICAGO members who take on acting roles here apart from their contribution to the picture's soundtrack), and the final straw is an awkward confrontation between him, Harve and Jolene, the latter turns out to be Harve's lover, and spitefully lambastes Harve's incompetence to make her contented and laments her ill-fated destiny, working in a barrelhouse after a dashed Hollywood dream, Johnny and Harv fall out afterwards.

Unambiguously Guercio conducts a half-hearted approach to solve the murder mystery, after trifling with a biker-chasing set piece to keep the action moving, the movie falls back on Johnny's "inner voice" for an expedient epiphany to realize who is the murderer at the end of a MADURA concert, with reasons unexplained, but that is not enough, ultimately there would be another revelation later, to further muddle the water and leave the opening scene ever so ambivalent when one retraces back, before reaching its chilling coda, completely hits viewers like a cold shower, willful but symbolic, overall, it is a loner's world against the canvas of a vast Arizona landscape, everyone in the story is either indolent, disillusioned or corrupt, only the hippies' community stands in as a getaway from the unpleasant reality, but their guarded world is defiant towards the mainstream values, Johnny represents a tragic hero who is doomed because of what he represents, an authority figure, cannot be saved by his amiable personality and all-too-well intentions.

Performance-wise, everyone on board is on a par with excellence, Elisha Cook Jr. is heart-rending to watch in his committed lunacy, Mitchell Ryan expertly imbues a certain degree of passing diffidence in his bombast mannerism and Billy Green Bush is so organic as Johnny's shade- hogging partner and nails his big scene with a flourish, so is Jeannine Riley, manages to steal some limelight even with a role riddled with platitudes. And our leading man Robert Blake, ever so self- reliant as a pipsqueak trying rather hard to chase his dream, only to get short-changed by a cynical world.

ELECTRA GLIDE IN BLUE, also bolstered by a symphonic soundtrack produced by Guercio himself and its striking wide-screen landscape sensation shot by DP Conrad L. Hall, is an astonishing debut feature, if it intends to be more of a zeitgeist-capturer than a gripping detective story, then I must give my whole-hearted congratulations to the crew, mission grandly accomplished!

Electra Glide in Blue is a Palme D'Or nominated film and the only one directed by James William Guercio who used to be the manager of the rock group Chicago.

Several band members have small appearances in this film and the band's then lead singer provides a memorable song in the end credits after a fatalistic conclusion. (The song was reused for the final episode of the television series, Miami Vice.)

Recent accounts suggests that the filming was chaotic due to Guercio's inexperience. A lot of work was done by Cinematographer Conrad Hall and star Robert Blake.

From the long opening shot you can see that this film benefits from Hall's cinematography who makes good use of the location in Monument Valley in Arizona.

Robert Blake delivers a wry, offbeat performance as John Wintergreen the diminutive by the book motorcycle cop who wants to be a detective. When he comes across a homicide which others first think is a suicide he gets his chance to partner with a more experienced detective. His enthusiasm soon changes when he realises that the detective is not all who he seems to be and prepared to fit up a hippie for the crime.

The film has been viewed as the establishment's response to Easy Rider. That is an incorrect view in my opinion.

Wintergreen is an affable, honest guy who tries to see the good in people and the film highlights issues on both sides. The counterculture and the cops. Here the cops are not seen as squeaky clean and film portrays cops in a rather sceptical light.

The film is more of a character study than a crime thriller. The plot after a promising set up then meanders. We even end up in a music concert at one point and I never really understood who really killed the victim and why.

This is Blake's film, he plays Wintergreen in a low key way and brings out a lot of humour. Such as dancing with his cowboy hat, stetson but no pants or chatting up ladies who are much taller than him by likening himself to Alan Ladd.

The Electra Glide is a motorcycle from Harley Davidson. There is a wild and violent chase scene when the cops go after a bunch of motorcyclists.

Electra Glide in Blue is an uneven film that has acquired a cult reputation. It is a lot better than the vastly overrated Easy Rider.

Robert Blake's Character in "Electra Glide in Blue" was a motorcycle policeman in the fictional town of Stockman, Arizona, not California or the CHP. Also, the title "Electra Glide in Blue" refers to the Harley-Davidson motorcycle, Electra Glide, favored for many years by law enforcement agencies in this country, before the influx of foreign bikes, (namely Kawaski, etc.) and the "Blue" in the title refers to the Men in Blue, aka the police. A previous commenter referred to these in their comments incorrectly. Several references are given in the film, by Officer Wintergreen (Robert Blake), referring to areas around the Valley of the Sun, namely the Phoenix, Arizona area. Among the aforementioned are "Buckeye Road", "Camelback"(Camelback Mountain), "The Superstitions/Superstition Mountains". Strangely, the Mounument Valley area also appears as a backdrop in several scenes; this area is nowhere near the Phoenix area. The soundtrack from this movie was available on LP, after it's release. It is sometimes seen on Ebay; collectors should note that inserts of the Electra Glide motorcycle, the cover picture and glossy pictures of the cast and action sequences, in booklet form, from the movie were included in the original release of the album, and should be included in the sale of this collector recording. They greatly increase the value of the record. I have seen this movie almost 100 times since it's release, in theaters, on TV and Cable, and in video form. It is among my favorites of all time.

Another movie from this glorious cinematic decade (70's) which is difficult to categorize. Is it a crime drama? A dark comedy? A satire, a parody of 70's crime dramas? I don't know what it is but i liked it. It reminded me of CUTTER'S WAY or FEAR AND LOATING IN LAS VEGAS from the cops' perspective. In any case, it doesn't matter. ELECTRA GLIDE IN BLUE is a good, 70's movie and i am glad i watched it.

It's not a great movie. First 40-50 minutes were almost uneventful, movie took its time to unfold and find its rhythm. If anyone expect a gritty, 70's action/crime film, will be disappointed, this is more like a 70's time capsule, a drama which portrays a piece of those times. It's uneven but when it hits, it hits well. Some scenes are brilliantly devastating. Overall, the last 30-40 minutes are the best part of this movie. Patience will be rewarded, there are many thrilling moments. And the ending is for sure one of them.

Robert Blake was excellent, so were Mitchell Ryan and Billy Green Bush.

I always wanted to see ELECTRA GLIDE IN BLUE for a very long time. I've always been intrigued by the title, the star and the desert but for some (now pretty clear) reason, this film is never shown on TV or I've happen to miss it if it's ever shown. Well, after watching the DVD, I now know why the movie is rarely shown: it's because it's not that good. In fact, I'd say it's pretty much of a mess.

ELECTRA GLIDE IN BLUE was made by a first time director and it shows. The film is mainly a series of vignettes with absolutely nothing holding it together. More like a collection of short movies haphazardly strung together. The movie can be boiled down to this: intro (murder); cop and girlfriend together; intro credits; cops going to work; crazy guy tells story; cop finds dead body; cop and chief and girlfriend at bar; chase scene; etc. The scenes just don't flow together. They're very distinctively independent from each other and because of this the characterization is weak, borderline amateurish. The scene at the bar with the girlfriend, the scene at the farm with the hippies, the scene with Big John and the Chief yelling at each other were cringe worthy. I almost stopped the film during those (awful) moments.

The film-maker's lack of experience is in evidence throughout the film. The style, like the 1970s, is all over the map. The intro credit scene makes the movie look like a commercial for law enforcement. Then it tries to be a buddy film (Big John and Zipper) then a murder mystery; then a melodramatic love story; etc. A film doesn't have to have one particular style in order to be successful but I'm afraid the style in ELECTRA GLIDE IN BLUE was confused. You can clearly see that the director had no idea what he was doing or where he was going with it.

The film is not a complete disaster. While the content of ELECTRA GLIDE IN BLUE is almost amateurish, the look of it is extremely (and deceptively) professional. The cinematography is stunning. Every frame is worthy of an exhibition at an art gallery. Or, because the first (and last) time director was involved in the music business, worthy of an album cover. The beautiful look of the film gives more credence to the finish product than it really deserves. And thanks to Robert Blake's acting (of a really badly written character), the film maintains a certain level of realism, even though nothing else makes much sense. What's remarkable about the look and composition of the film is that it's been copied and duplicated a million times over. The intro credits reminded me of something like TOP GUN, which was made 13 years later. Scenes of Johnny dressing up, with his clothes on the bed, reminded me of American Gigolo. Strangely enough, ELECTRA GLIDE IN BLUE has a very contemporary feel to it, due to the stunning visuals, even if the story and the philosophy behind it are hopelessly outdated.

So, ELECTRA GLIDE IN BLUE is, on one hand, a remarkably underrated and overlooked film because it obviously influenced a lot of future filmmakers out there when it comes to the look and composition. Very few films can claim to have achieved this and legendary cinematographer Conrad Hall should take full credit. But, on the other hand, EGIB is also deservedly forgotten because the poor characters, confusing story, and muddled direction, none of which are worth of remembering.

Before he found himself on the wrong side of a murder investigation, Blake was noted for playing an unconventional cop on the TV show "Baretta" (and also the flip side as a brutal killer in the film "In Cold Blood".) Here he is a square peg trying to fit into a round hole as a California Highway Patrolman with dreams of more. At 5'4", he is a full head shorter than the shortest of his fellow motorcycle-riding fellow officers. Though his cohort Bush balances his days between sitting on his bike reading comic books and listening to the radio with pulling over anyone even remotely suspicious, Blake yearns to be a better cop than that and, ultimately, a detective. When (after a thoroughly gripping opening sequence) a man is found shot to death, Blake seizes the opportunity to piece the situation together and becomes the driver and right hand man to hotshot detective Ryan. As the pair attempts to solve the mystery of the man's death, their faults, attributes and insecurities are laid bare (notably in an extended scene with Riley, a barmaid who has known both men for a long time.) Finally, the truth of the death comes to light, but only after significant turmoil, carnage and some surprises. Blake is terrific in the lead. He perfectly captures the awkwardness mixed with ambition of his character. He has many memorable scenes, more than a few of which that poke fun at his size (though he was in great physical shape at the time.) Bush lends strong support as his rather amoral buddy. Ryan is splendidly authoritarian and paints a memorable portrait of a man who is a big shot (especially in his own mind) every time and everywhere except when it counts. He is perfect in the role. Cook has a very showy and effective role as a mentally challenged old man who discovers the body. Riley is effective in her sleazy, but sympathetic role, but her big scene does seem out of place somehow and shifts the focus of the movie more than it probably ought to. Dano, a strong character actor in countless TV and film projects, does an excellent job as a jaded coroner (a far cry from "Quincy M.D.", he not only eschews a surgical mask, but smokes a cigarette during the autopsy!) The film is gorgeously photographed and extremely creatively directed. It had to be way ahead of its time in terms of camera-work. The texture and atmosphere of the scenes is beyond most of what is cranked out today. It's also loaded with quirkiness and irony (some might say overloaded.) In any case, it's a unique viewing experience with many rewards for the patient and incisive viewer. There's also a motorcycle chase that rivals any of the best from this period. Like so many films, the only way it can be fully appreciated is in the widescreen format. The glimpses of Monument Valley are welcome and add much to the visual appeal of the film. The film isn't completely flawless, but it is highly memorable. The title refers to the make and color of a motorcycle.

This holds up surprising well after all these years. It wanders off at times, a bit stream of consciousness, but worth the time invested. Blake is great in this, albeit he became a murderer in real life. The director should of been nominated for an Oscar; name five better candidates from 1973. Enjoy.

I watched this movie tonight and toward the end I realized I had seen it years ago when I was much younger. I must confess, I didn't realize how good it was back then. There were parts of the movie that were downers, I guess I was looking for a feel good flick years ago.

Our main character played by Robert Blake is a straight by-the-rules cop. He has a partner that does not play fair and I suppose that was part of the turn off at the first viewing. Our hero has to deal with all kinds of set backs and surprises, dealing with other police who seem to be too focused on the "job" and less focused on right vs. wrong.

There were good, convincing performances all around. Never did I get the feeling they were "acting".

There is mystery, surprises, and some incredible scenery of the wild, open Arizona spaces. Even after a second viewing I'm still not certain what the message of the movie was although I did give it a nine rating. Are the majority of cops bad? Are most hippies good? Are most hippies bad? Does the desert make you crazy? I suspect the movie will leave you with similar questions. I don't think it strives to answer any in the first place. I get the impression it simply throws issues at the viewer and leaves you to fill in the blanks.

This movie will NOT spoon feed you a clear cut plot, but it will make you think.

James William Guercio's only directorial credit took me completely by surprise. I guess the idea of a film about bad cops on big bikes in Arizona has never really appealed and looking at the trailer now, feel certain if I had seen that, it could have only put me off. But then how do you sell such a film? Talk of Easy Rider is misleading and accusations of fascism ridiculous, so perhaps as someone who has only fallen for this film after almost 50 years, I should make some attempt to explain my enthusiasm. Apparently Guercio grew up with a movie theatre connection and as a youngster watched some films, notably those of John Ford, many many times. No surprise then that upon being given the opportunity/task of directing this movie he looked to Conrad L Hall to help him out. The film opens with extreme closes-ups of police patrolman Robert Blake getting dressed and lovingly zipping up his bike leathers which sets the tone and is some impossible mix of John Wayne and Kenneth Anger. Apparently Hall worked hard on all the interiors, which are so atmospheric, and left the design of the exteriors, the roads and mountains and skies to the director. However the division, the result is that this looks fantastic throughout with many unusual shots showing up the changing times and rampant disillusion, mixed with almost traditional ones seeming to lend, inevitably to an evocation of a time past and yet with something of an ironic slant. This is a beautiful looking and well scripted piece, stunningly reflecting a melancholic moment in American history, something of a crossroads, when real questions were being asked (as maybe they are about to be once more!) as to the balance between freedom and authority and more importantly the motivations and personal needs and inadequacies that lie beneath these seemingly convergent urges and desires. For all the inexperience of the director this comes across as an assured work with fine performances all round and particularly nuanced ones from the main characters. Even the smaller turns, however, like the hippy stopped on the road and the disillusioned bar owner are convincingly rounded and believable figures with their sad and insignificant yet simultaneously happy and heroic lives. Nobody comes out of this particularly well but there is a feeling of warmth engendered and an impression that we have been privileged to peek under a stone or two to at least glimpse some sense of humanity beneath the surface. All might not be paved with gold in the hippie commune and not all cops might have chosen the job to be able to knock people about but even if there is an element of truth here, it will never be as simple as it sometimes appears.

From the opening ‘suicide' montage and shot of a desert landscape cut in half by a narrow strip of road, you can tell that Electra Glide in Blue will be a simple film relying on striking visuals to tell the story just as much as the dialogue. It may even be a tad too simple, since it sort of teeters out before the end and reaches its resolution rather abruptly, but its themes of dreams, loneliness, and obvious parallels to the death of 60's idealism, make it a very moving, worthwhile film.

Blake is note perfect as `Big' John Wintergreen, an idealistic, pure-hearted, easygoing motorcycle cop, who just want to be a detective and `get paid for thinking, instead of sitting on my a** getting calluses.' He gets his chance when an old desert denizen appears to have been murdered and he is taken under the wing of Det Harve Poole, a right wing, bigoted, commanding man, who establishes his character by saying `My religion is myself. When I talk to myself, I'm talking to the whole world.' In his zeal to become a detective, Blake follows him around like a puppy, until eventually he sees that his desire to be decent and honest just wont work. He refuses to sacrifice his nature, his kindness, if that's what it will take to get his dream. The final shot of the film (One of the best final shots EVER, by the great cinematographer Conrad Hall) sums up this tragic, fatalistic point and beautifully.

This film is a good story, well framed technically. However, I believe one glaring error stands out. Motorcycle law enforcement is a huge ticket.-writing, money making machine for municipalities. If I were the chief of police or city manager of Scottsdale, I would definitely fire Wintergreen and his partner for goofing off all day in the sage brush and cactus while there are all those traffic tickets to write in town. If Wintergreen wanted to be an investigator, he should never have gone into motors.

Motorcycle cop John Wintergreen (Robert Blake) spends most days writing speeding tickets on the Arizona highways. He's the runt and dismissed for his obsession to becoming a homicide detective. He comes upon an apparent suicide but insists that it's homicide. Homicide detective Harve Poole (Mitchell Ryan) is the only other one suspecting foul play and forces the ME to do an autopsy. It turns out to be murder. Harve takes John under his wing in his investigation.

This film takes its time with introducing Wintergreen. It's a 70's flick with its counterculture and cynicism. It's a bit slow and it's a bit long. I need this to be snappier but that's not the style apparently. It's the only directing credit from James William Guercio and I can see why. He's a bit loose with his directions. Robert Blake is fittingly awkward. He has a bit of the Napoleon complex and would get his TV series Baretta after this. The motorcycle cops ride the Harley-Davidson Electra Glide which is meaning of the title.

This film is basically a self-indulgent early 70s "rugged American white male" fantasy story that tries too hard to be a classic and fails. Overacting everywhere, but Blake is good. Lots of boring dialogue filler and poor characters and a plot that tries to go in too many directions. The large middle part of this film meanders so much and has so much overacting that it was hard to watch. It seems like the director was trying too hard to make a film that would be an "American classic," but fails. However, the cinematography is excellent with beautiful, expansive desert shots and striking visuals. After slogging through the muddled, overacted first 4/5 of the film, the hyped-up ending was predictable (for me, anyway) and overrated. No wonder this movie has mostly been forgotten.