superbarnsley

I saw this film some years ago for the first time, and remember liking the bikes and the soundtrack. I've seen it several times since, and have developed a much deeper respect and understanding of American counter-culture of the 60s.

Someone else mentioned that it isn't a blissed-out narrative of 60s flower-power, but more the dark demise of a provocative era. This is true. This film, along with the frightening events at Altamont at the end of 1969, signalled the chequered flag, literally and figuratively, for the hippie movement and the freedom of expression of the 1960s.

1971's 'Vanishing Point' tries to bask in the reflected glory of Easy Rider, yet appears overblown and pretentious in comparison. The photography, location and direction of the film are a perfect foil for our three heroes - Hopper and Fonda already open-minded, Nicholson is the drunk, middle-American who dares to push the (state) boundary and try to understand his new friends' quest.

The irony of Nicholson's death in the film can't be overlooked. Fonda and Hopper are bruised but relatively unscathed. The yokels are punishing the 'real' American for daring to join these free-spirited 'non' Americans - he is one of their own turned bad. It's all very well to look at animals in a cage but it's unacceptable to jump in there and join them. These hillbillies were symptomatic of a reactionary, rural Deep South that was chalk to the big cities cheese.

America is and always has been a country of contrasts and conflicting opinions. Then, as now, there is a tangible sense of social paranoia - who are these people that don't look like me, think like me, worship like me or do what I do? I'm not wrong so it must be them...

**** out of *****

I can't get enough of these kinds of films. They are simply superb, for all the wrong reasons. The Duke's portrayal of a rebel cop in a horrendous toupee, the cheesy cliched lines, the routine gun-car-chase-almost-love-interest plot. How someone like Richard Attenborough bought into this I'll never know. He plays the haughty, stiff-upper-lipped commander of police at Scotland Yard, who meets Brannigan at a Gentlemen's Club. Then there's the hilarious Yank/Limey bashing, the fact that all the action takes place around London's major tourist attractions (Piccadilly Circus, Trafalgar Square etc.), and the car stunts as Tower Bridge opens, which includes a dreadful cut the worst model set-up of any film ever in the history of cinematography. The ending at the disused factory complex incorporates a double-double cross, which I thought was a classy touch. I can't recommend this film enough. I can't stand John Wayne so I'll put it as his best outing. Go and watch it. **** out of *****

I was surprised at how weak this film was. The best thing about it was Dustin Hoffman, and he didn't turn up until half an hour from the end. The script is implausible. Why would the prosecution (okay, they were going to throw the case) not cross-examine the defendants? I'm a big De Niro fan and wasn't too impressed. The directing was slipshod, and not enough emotional compassion was developed for the characters. Okay, boyhood, inseparable friends they may have been, but the film omits the formative years after they're released from Wilkinson Home for Boys. Cold-blooded killers? Assistant district attorney? Alright, but why and how? If this is some kind of buddy movie, I've seem it done much better, with lower budgets and supposedly 'weaker' casts. Disappointing.