Big Sur

"Big Sur" (2013), based on the 1962 book by the enigmatic Jack Kerouac, details the author's three retreats to a friend's cabin in the magnificent eponymous location a hundred miles south of San Francisco. Sometimes he's alone and sometimes he's with friends. Kerouac can't handle his fame and success as the leader of the beatniks and so descends into the darkness of alcohol addiction.

While this is a well-made artsy film featuring narrations from the author himself throughout, it's done in by its subject. At least with 1991's "The Doors," which chronicled Jim Morrison's downward spiral, we got great music, entertaining concert footage and colorful characters. "Big Sur," by contrast, only has Kerouac's stream-of-consciousness verbiage (i.e. "interior monologue") and the beautiful cinematography of Big Sur. Yes, it's professionally made with a quality cast and it kept my interest for the first 45-50 minutes, but then it just drones on to the bitter end. I hate seeing people waste their talents, especially by their own foolish addictions. Of course this is the only way the story COULD end since it's based on real life. Jack was dead at 47. Despite my criticisms, "Big Sur" is worthwhile if the topic interests you and the film's obviously a must for Kerouac fans; it will leave most everyone else bored or depressed.

Interestingly, it was 1957's "On the Road" that propelled Jack to beatnik stardom, but he later confessed it "was really a story about two Catholic buddies roaming the country in search of God. And we found him." Too bad his revelation didn't help him out with his increasing substance abuse.

The film runs a mere 81 minutes and was shot in Big Sur and San Francisco.

GRADE: C

If you're fascinated with Kerouac, the Beats, or the era, you may enjoy this picture. Everything is solid, but we're not given music as viewers to digest. Stuff happens, and more stuff happens. Is there a conclusion? Maybe there doesn't need to be.

Attempt made to echo the rhythm of Kearoac's prose in a biopic that is as inconsequential as it endeavors to be important. Some talented actors wandering around one of the world's most beautiful places. The beats are a bit tired as one inevitably matures, however regrettable that may be. This movie would seem to express the disillusionment of bohemian spontaneity without ever giving viewers a reason to care.

There's alot of interesting material from the beat poets to make compelling film. This was lazy and superficial and immature. My rating: wandering out of the room without any desire to pause or rewind.

It's impossible to discuss this movie without putting it in the context of "On The Road", which could not find an audience. Knowledge of who Kerouac was is limited in the TV age; and his books, all fictionalized tales, yet autobiographical in nature (and to some a serialized mythology of an artist's life) are reduced to a cult-fan base in this era. If the iconic road story that launched Kerouac into the literary firmament was rejected by the Superhero loving movie audience of today, what chance does a psychological internal monologue about an artist's descent into alcoholism have.

So we are left with a simple dividing line: do you know the work of Kerouac and the milieu of "The Beats"? If you don't, then this movie will seem odd and slow-paced, overwhelmingly pointless and pretentious. If you are a fan, then we are confronted with another question: Is simply seeing the narratives underlying Kerouac's poetic stream of conscious writing brought to life worth dealing with the limitations of converting works of art that are not plot-based to film? Like "On The Road", "Big Sur" delivers a simple enough joy to the Kerouac fan. There it is: a dramatization of Kerouac's iconic writings, replete with tons of required voice-over narration of the jazz-based flowing verbiage that makes Kerouac Kerouac. But, you can't help but think, wow-it's just not possible to make a conventional movie out of a Kerouac story, you must have excessive narration, because Kerouac was entirely about the words - the rhythm, the cadence, the explosion of images and alliterations. None of this is bad, but it requires an acceptance of the source we are dealing with to accept such an extensive override of normal plot-driven movie storytelling.

The movie is well directed. Polish mixes imagery well, establishes mood and atmosphere, and handles the semi-hallucinatory descent into alcoholic stupor with a pleasant restraint.

The actors all do top-notch work, although some of the peripheral characters such as Lew Welch, Ferlinghetti, and Whalen seem to have no emotional connection to the main character or his problems. They are just there. Even Neal Cassady ultimately fades away at the end.

Kate Bosworth enters the movie halfway through the story and becomes the last lifeline that Kerouac throws away. While undeveloped as a character, she does a fine job representing the last real thing left to hold onto. She fits the role well, and plays out the heart-wrenching string aptly, as a character smart enough and jaded enough to cope with her fate.

As a fan of Kerouac, I can say that there is so much good about this movie and it's straight forward attempt at delivering Kerouac's last important novel as a film, that I would recommend it highly to anyone that enjoyed "On the Road" as a film. If you were bored with OTR, or didn't get it, you will not enjoy this subtle intelligent movie.

Was not aware of this one. Found it on Prime. Was really enjoying this - a pleasant surprise - until the last 10 or 15 minutes. I got lost there at the end.