Na Estrada

One of the aspects this film really lacked was an understanding of the zeitgeist of Beat America in the late forties and fifties of Post-World War Two America. The conservative middle class that Ronald Reagan defended was in full swing and there were those who did not fit in and did not know where to go, and this is where the Beats fit in. It was L seven heaven square land and people with creative vision didn't have the flavor for materialism. The idea in the mind was just as secure as house in the suburbs. Plus I saw no James Joycean stream of consciousness with the speed, booze and the jazz. Where was the poetry? You see people moving around, dancing, snapping fingers and being "hip" but no expression of what was going on within. The characters I saw were 21st century self-centered users, dopers, and boozers who could not afford a day of tasting wine in Napa Valley, so it's everyone else's fault. The most real character in the film that captures the sense of the time was Viggo Mortensen's Old Bull Lee/William S. Burroughs. That worked. Carlo Marx, the Ginsberg attempt should have been called Harpo Marx. I was howling at the idea that this was suppose to be the person that wrote Howl. The art direction and cinematography did keep me watching instead of leaving. But remember, it does say based on the book On The Road.

It's the late 1940s, and young writer Sal Paradise's father has just died. He hangs out with friends in bars and struggles with writers' block. But when he meets charismatic Dean, Sal decides to follow his new friend's lead and take to the road on a cross-country trip across America.

Let's start with the good, shall we? The supporting cast are excellent, and special mention should be given to Tom Sturridge. He plays Carlo (Allen Ginsberg's alter ego), who spends much of the film intensely brooding over his broken heart, his writing, his wild ambitions. A quiet scene in which he tries to articulate his feelings towards Dean is one of my favourite in the whole film. Elisabeth Moss and Amy Adams also have blink-and-you-miss-it supporting roles, and they both easily outshine their higher-billed co-stars.

Unfortunately, that's about all the praise I can muster.

We are informed, time and time again, that Dean is charismatic, charming, infectiously reckless and dangerous and sexy. Sal, Carlo and Marylou can't get enough of him. He makes their lives better, more complete, more exciting. And yet Hedlund, for whatever reason, completely fails to shine on the screen. Good looking, yes, but charming he is not.

Reading the film's trivia page, previous attempted adaptations of Kerouac's book had the likes of Marlon Brando and Brad Pitt in mind to play the role of Dean. It makes me disappointed, embarrassed and slightly angry that the film's producers, in their search for our generation's equivalent to Brando and Pitt, settled on Garrett Hedlund. Was there really no one else available? What about Aaron Taylor-Johnson? Or Sam Claflin? Or Miles Teller, maybe? Or anyone who actually manages to make beautiful lines of prose sound more exciting than the phonebook? Objections have also been raised about some of the other main cast members, but although none of them - with the exception of Sturridge - lit the screen alight, none of them ruined the film either.

But of course, this film was always going to disappoint. It was always going to disappoint because it was built on a shaky foundation. The film's underlying problem, the problem that was always going to be a problem even if everything else was perfect, was what the script isn't good enough.

Any film worth watching tells you what its characters want. It's a character's pursuit of his/her personal goal that drives the whole plot. There was no sense here that the characters wanted anything in particular. There was talk of writing, but only in passing, as a way to spark a conversation in between drags of a joint. The characters talked, and laughed, and drank, and danced and travelled. But none of it really mattered because, in the end, none of them really changed.

I'm aware, of course, that Kerouac's book is a much-loved piece of literature, which leads me to conclude that it must be much, much better than this film. If that's the case, then fine. Read the book. Love the book. But it's not enough to trust that an audience's love for a story told in one medium will necessarily transfer into a love for the story in a different medium. The film feels like it relies too heavily on people knowing - and liking - the characters of the book, and in doing so fails to deliver an adaptation worthy of its source material.

For the record, I'm a big Kerouac fan. However, I don't think On the Road was his best work. I like his later, more introspective writing, but I know I'm in the minority here. There's a good reason why we had to wait so long for a screen version of On the Road. Impossible as it may be to believe, some novels are not written with potential movie rights in mind. On the Road is a sometimes rambling, stream of consciousness, string of vignettes without a clear goal in mind. It is a novel about hedonistic-death-driving on America's highways in a quest for life and a run from it. For the members of Kerouac's (Sal Paradise's) group, life is controlled self-destruction because death is preferable to boredom. These attitudes spring from the times in which the reality of potential nuclear disaster hung over the nation and the attitudes so induced found expression in youth who turned the directionlessness of life into life for the moment.

Making a film on such a book requires selection. Kerouac's hedonistic rampage across America, as selected by director Walter Salles, looks more mindless and sex-spiced than it did in the novel. Kerouac, as we see in his later works, was a hedonist with a conscience; a deadly combination which likely led to him drinking himself to death. Director Salles sees what he wants to see, a sex-crazed, drug-crazed, two-dimensional man. If this was truly the man represented in the novel, the novel would not have had the enduring quality that has made it literature.

I liked the way the 1950s was captured in the film. It was as close to perfection as you could get. The importance of jazz with its improvisation mirrors the lives of the travelers. The acting is good but the interaction is not. Maybe that was the point. There is no need for interaction in an age when the highest morality was based on selfishness. The movie may be okay to watch once, but I would prefer not to go down this road again.

I agree with the earlier review ..."..our last chance to revisit it, even for a few hours, is taken away..." Yep. I read the book soon after its publication and, like the above reviewer, only remember the intensity, the poetry. My memory is that there was no real story line. But wonderful evocations of crossing the country in the old Hudson, at night...something about the feeling of being in that capsule. Just one of the many quibbles I have with this movie is that it showed us the Hudson speeding across the screen from left to right...an exterior view. Nothing of the romance of being in the car as it hurtled along. Lots of scenes of Dean driving dangerously, but that tells us something about Dean...that isn't what the book was saying about being in the car.

Okay. Anyway..anachronisms...

I graduated high school in 1957. I remember the hair cuts for girls...I was one of them. Marylou did not wear the cut shown in the movie. No long layers. Long hair , yes, but not long layers. That's very contemporary...It's distracting. Ever hear of "pin curls?"

Restaurant servers did not start saying "Enjoy" until at least the 90's. Remember the carefully recreated restaurant toward the end of the movie...the middle aged, somewhat overweight waitress in the red uniform? Never would she have said "enjoy."

I think some of the cars seen rushing from one side of the screen to the other in the early part of the movie were not available in the late 40's. Looked like Chevys from about 1953.

So much was carefully done...the paint peeling in the old Victorians when Victorians were low rent...yes! That very restaurant mentioned above.

Come on, there are lots of us still living. Hire a consultant next time.

I loved the book enormously when i read it a couple years back. I shot through it in two days and just thought it was a fantastic read with an incredibly high energy feel to it. (Its almost like the reading equivalent of several cups of coffee) The film by contrast doesn't have any of that specific wired high energy feel to it, in fact i thought the film kind of saps some of the energy from the story by trying to place it all in the context of a story that has to have a beginning, middle, and end. I get that any adaptation of this was going to have to do some reconfiguring just because any movie is going to need to have a story with a clear through line for people who aren't familiar with the book to understand and that's OK, but at the same time it kind of takes away some of the amazing strength of the book. In fact it kind of reminded me of the Robert Redford 70's version of "the Great Gatsby" in that while faithfully recreating the scenes from the book, they kind of forgot to infuse the film with the lively energy that their source material had in spades! Enough about that tho because as a film "On The Road" is solidly enjoyable enough and pretty well made as a film that its hard not to like it in general. I did in fact watch virtually the entire movie with a huge smile on my face because i enjoyed in no small measure the staging of certain scenes from the book, as well as catching certain lines that i remembered vividly from the book but not until hearing them spoken in the film did i think about how great it was that the screenwriter and director thought to include them.

The film itself to me even gets better in retrospect because at first i didn't particularly like either Sam Rielley or Garret Hedlund as Sal or Dean. Thought they were both entirely miscast, but in truth as the film went on it was a lot easier to accept them as the characters if only because i think i had such a specific type in mind for both characters--Sal should have been less grizzled, more naive...and Dean should have been way more manic and charming instead of the fairly low key but very affable man. (i feel like maybe James Franco would've been a good choice for this cause he can definitely do both manic and depressed.) Even that i understand that you can't overdo Dean Moriarty because then you run the risk of going too far and having him not be believable as someone who could easily charm this entire group of people, but again as the film goes on, and the scenes go by--it becomes a lot easier to accept the two actors as Sal and Dean. I feel like that's actually true of the film as a whole too. It kind of starts out with a whole i don't know about this kind of vibe and it quickly wins you over because of the confident way the scenes from the book are put across. I really do feel like Walter Salles properly caught the spirit and underlying sadness of the book but didn't quite capture the mad passionate high energy level that makes the book such an intoxicating read. While that initially came to me as disappointment i got to admit that the film (much like the book its based on) grew on me as i was watching it, and if the film can't be exactly like the book, its at least a fair to solid enough interpretation of the book's characters and events that i can gladly accept and enjoy it on its own merits. (The fact that its also beautifully filmed and has a great accompanying soundtrack help enormously!)