Aloha Bobby and Rose

Bobby and Rose are each leading dead-end lives in Los Angeles. He works in a gas station, she is a young stay-at-home mom. They team up and decide to live out a few fantasies, the major one being a carefree journey to Hawaii. Their goal is never reached. Bobby and Rose wander aimlessly around southern California and the Mexican border, making casual acquaintances and encountering casual violence. The dream starts to go wrong almost from the very start, and the young lovers are left with something less than an idyll.

This is a road movie in the great American tradition, a poetic kaleidoscope of images of Americana - radio music merging with advertising hoardings and neon signs in a dreamy, meaningless pot-pourri of LA, a sort of Metro-Goldwyn-melange. For all the colour and style, appearance and reality are at odds. Rose has her fantasy, but her reality is that she has committed herself to a two-bit punk. Under the surface of the stream of images, we see the jagged edges of society's faultlines ... auto wrecks and liquor store hold-ups.

Bobby inhabits a live-now-pay-later youth fantasy of pool games against chicano hoods, hotrod races and getting chased by the cops. The trouble is, Bobby is running on empty and the fantasy cannot last.

On their travels, Bobby and Rose meet a Texan couple, the irrepressible Buford (if only we could have seen more of him!) and the dim but good-natured Donna Sue, played by Tim McIntire and Leigh French. Buford is an amusing drinking-buddy whose presence in any bar guarantees at least one outrageous incident, and Donna Sue is all heart, but their relentless cheerfulness becomes claustrophobic, especially for Rose.

Paul Le Mat as Bobby is appropriately good-looking and vacuous. Diane Hull invests Rose with a little more substance. The story of their spontaneous elopement is, in truth, the tale of Rose's tragedy.

Verdict - Serviceable road movie which makes effective use of contemporary soundtrack.

Highly watchable mid 70s car culture film. I first saw it on release when Paul Le Mat was familiar to younger audiences from his role as fading hot rodder John Milner in George Lucas "American Graffiti".

Not an existential roadie like Monte Hellman's "Two Lane Blacktop". Aloha is a conventionally plotted 'kids on the run' affair. However, the cinematography is excellent with vibrant pop cultural references such as Hollywood billboard signage featuring Ringo Starr and Elton John tours and albums of the time. There is also a poignant quality to several scenes including Roses mothers Tequila sodden reminiscing, and, a road bound Lincoln Continental driving childless couple who offer support to the young outlaws.

Gritty details of the unromantic side of Californian life for working people ad unexpected depth to a teen genre picture.

This film is nothing more than a cheap melodramatic piece of crap, and I love it. The moving story of a young couple on the run. I was young and the worlds biggest Elton John fan when I saw it. I had the whole world before me, I was going out with a beautiful girl, (Named Sue) and I'm not sure if everyone can understand how great it is to listen to "Daniel" while your girlfriend rests on your arm in the soft twilights of the movie theatre.. but I hope they can. I would buy this film if I could find it, and happily agonize through it again, and again... It is a very romantic film in a very basil form... It works for old fogies like me, and teenagers. They won't recongnize all the music, but that won't matter. A great movie for a quiet evening with someone that you care about.

I know that Elton John's "Tiny Dancer" had a re-introduction and re-awakening to the masses after 2000's "Almost Famous." But I know that "Tiny Dancer" was introduced to me in 1975 when this movie came out. But since this film didn't have the impact of "Almost Famous," that's why "Tiny Dancer" stayed pretty much unknown to the general public until 2000.

The film itself is OK. What makes it memorable is the music of that period, which besides "Tiny Dancer," we hear "Bennie and the Jets" during one of the film climaxes, and also "Karn Evil 9" from Emerson Lake and Palmer.

I am surprised by two things - the number of other people who actually remember this film, and the number of people who remember it so fondly. As a matter of fact, my husband and I - who grew up on opposite sides of the country - both saw it when it came out in 1975, could never find anyone else besides each other (and our respective dates at the time) who saw it or even ever heard of it, and both remembered it somewhat fondly. I think because it never caught on and is therefore encased forever within the year of its release it serves as a reminder of our youth. Thus, if you are younger than about 50, I actually would not recommend this movie.

This movie truly has a great soundtrack and a great use of music in the action itself. For example "Locomotion" by Little Eva plays during a horrific slow-motion car accident scene. Someone else has already mentioned "Benny and the Jets". The other thing I notice about this film, separate from my own personal nostalgia, is that it takes chances that none of the homogenized formula-driven movie studios would ever take in today's film industry. It sets out to be a cross between "Billy Jack" and "American Graffiti", and hits the mark on some points (the visual feel of the film, the soundtrack), and misses the mark on others (little characterization or depth in plot). My six star rating is therefore somewhat misleading. If you were a teenager or in your early twenties in 1975, you'll probably see this film as eight stars for all the reasons I've given. If you are much younger or much older than that, you probably won't get it at all and for you it would be a four-star film. Thus, I split the difference at six stars.