Heart Beat

I am amazed that so many people on this forum rate this movie as the pan-ultimate film regarding the 'Beat generation'. One comment even goes as far to state that "to a Kerouac/Cassady fan and fan of that era ( late 40s early 50s ) this is pure gold".

Why, I wonder. Because as far as a depiction of reality goes (and reading the raving messages on this forum to many the essence of this film is a fair picture of what actually took place), this film is a travesty if ever there was one. In my files I have (the translation of) an article written by Kenneth Turan in 1979 which contains an interview with the then 55 year old Carolyn Cassady. She says that when she first read the script (by John Byrum), she was taken aback by the untruthfulness's of it. Facts were distorted, characters twisted, and reading some of the dialogues, she said to herself: come off it, this is a sham! However, she was paid 70.000 dollars plus 2,5 percent of the nett turnover, which was as good deal as she might have expected, and soon enough she took to the script, false as it may have been. And why? "If this had been my real life, I'd have been satisfied with it". Also, she loves what Sissy Spaceck did with her part: "I am the true heroin of the story, what more could one want?" So much for character.

Interestingly, Alan Ginsberg refused to cooperate with the film and forbade the producer even to use his name or quote from his poetry. So the Alan Ginsberg character in the movie is called Ira Streiker.

I am 60 years old and read On the Road for the first time in 1969. Last month, forty years later, I read it again. It was a weird experience... Kerouac's prose is baffling, he truly was a great writer, but the experiences he describes in On the Road have no meaning whatsoever. Actually, Neal Cassady is a low life (Kerouac more than once refers to him as "a rat"). And no biopic can change that.

This was a find with On-Demand. The price was right (free)and I could watch it without leaving the house, so nothing was lost except time. That being said, this is probably a film that fans of Nick Nolte, Ray Sharkey and Beat Generation culture would enjoy. Nolte is in the waning days of his "pretty boy" phase, but he gives a gritty performance. Ray Sharkey's maniacal turn as Ira makes you wonder "what-if" all the more. The Beat Generation backdrop seems a little too clean at times, but it gets a fair shot. However, Sissy Spacek is handed a character that she can't do anything with. This comes from the overly broad brush strokes that the filmmaker uses, which leaves little room for Spacek to work.

All in all, not a bad film; just not one for the ages.

Considering all the comment about the "beat generation" US literary movement of the 1950's and 60's, it seems there's not much film examination of it. The only book of Kerouac's to be filmed so far was the confusing "The Subterraneans" in 1960, not an obvious candidate. This 1980 film is the only biopic of which I'm aware that follows the Kerouac/Neal & Carolyn Cassady saga. It's spotty and doesn't communicate a great deal of what "beat" literature claimed to have accomplished (if indeed anything WAS accomplished), but Nolte was born to play the role of Neal C., which performance alone seals the value of this film. The Cassadys were muses that helped generate Kerouac's impetus to write, and the rest is history.

Fictionalized account of the friendship between writers Nick Cassady and Jack Kerouac, members of the so-called Beat Generation of the late 1950s. Writer-director John Byrum takes a sketchy, connect-the-dots approach to these famous people, and his opaque screenplay, adapted from Carolyn Cassady's memoirs, leaves the actors (Nick Nolte as Cassady, John Heard as Kerouac, Sissy Spacek as Carolyn) often looking as if they haven't been clued-in. There are moments when the cast and the well-realized surroundings warrant far more interest than the story or the dialogue, and that's a weak obstacle in a film about writers. The film is also extremely somber, with only bits and pieces of quirky humor (thanks to a supporting turn by Ray Sharkey) to elevate the depressive air of self-conceit. Visually impressive production, solid work from the men, but Spacek's role is underwritten. ** from ****

This is another good movie about a fascinating time, place and group of people in Americana that was missed by most people. It was a film that you didn't want to end. I highly recommend it, especially to the younger generation who don't know what cool really is...