Browse content similar to Rich Hall's Continental Drifters. Check below for episodes and series from the same categories and more!
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This programme contains some strong language | 0:00:02 | 0:00:05 | |
Know why there's never been a decent British road film? I'll tell you. | 0:00:05 | 0:00:09 | |
Cos there's nothing exhilarating | 0:00:09 | 0:00:11 | |
about having to eat a rancid chicken salad sandwich | 0:00:11 | 0:00:14 | |
from a BP station at the Bolton West services on the M61, that's why. | 0:00:14 | 0:00:19 | |
There's nothing romantic about having an Eddie Stobart truck | 0:00:19 | 0:00:23 | |
with the name of some mail-order bride stencilled on the grille | 0:00:23 | 0:00:26 | |
trying to ram itself up your ass at 80mph. Nothing! | 0:00:26 | 0:00:30 | |
Have you ever been to a Happy Eater? No-one's happy! | 0:00:30 | 0:00:34 | |
In America, the automobile invokes individualism. | 0:00:34 | 0:00:37 | |
It's a manifestation of the pioneer spirit. | 0:00:37 | 0:00:40 | |
In Britain, it's a source of frustration and defeat. | 0:00:40 | 0:00:43 | |
What's the point of owning a fast, expensive car | 0:00:43 | 0:00:46 | |
when there's nowhere to drive it? | 0:00:46 | 0:00:48 | |
There's a reason Top Gear is so disgustingly popular in Britain. | 0:00:48 | 0:00:51 | |
It's grown men watching other grown men do | 0:00:51 | 0:00:53 | |
what they'll never get to do themselves. You know, road porn. | 0:00:53 | 0:00:57 | |
They should make a British road film. | 0:00:57 | 0:01:01 | |
It'd be two guys in an eight-mile tailback | 0:01:01 | 0:01:03 | |
waiting for roadworks to end. | 0:01:03 | 0:01:05 | |
You won't even need dialogue. It'll just sound like this. | 0:01:05 | 0:01:08 | |
HORN BLARES | 0:01:08 | 0:01:11 | |
HORN STILL BLARING | 0:01:13 | 0:01:16 | |
HE LAUGHS | 0:01:17 | 0:01:19 | |
# The open road, where the hopeless come | 0:01:19 | 0:01:24 | |
# To see if hope still runs | 0:01:24 | 0:01:28 | |
# One by one they bring their broke-down loads | 0:01:28 | 0:01:32 | |
# And leave 'em where the hobo dreams are stowed | 0:01:32 | 0:01:36 | |
# Out on the open road | 0:01:37 | 0:01:40 | |
# Out on the open road... # | 0:01:41 | 0:01:43 | |
Badlands. Sugarland Express. | 0:01:50 | 0:01:53 | |
Thelma & Louise. The Straight Story. | 0:01:53 | 0:01:57 | |
Bonnie and Clyde. Five Easy Pieces. | 0:01:57 | 0:02:01 | |
As a rule, road movies end badly. | 0:02:01 | 0:02:03 | |
The main characters either die or they go home. | 0:02:03 | 0:02:07 | |
The happy parts are in the middle. | 0:02:07 | 0:02:09 | |
But the one defining feature of every road movie | 0:02:09 | 0:02:12 | |
is that moment where the road opens up | 0:02:12 | 0:02:14 | |
and we see endless possibilities on the horizon. | 0:02:14 | 0:02:17 | |
We get that sense of space that America has to offer, | 0:02:17 | 0:02:20 | |
and with that sense of space comes hope. | 0:02:20 | 0:02:23 | |
In a road movie, this is the money shot. | 0:02:23 | 0:02:26 | |
This is what makes road movies seductive - | 0:02:28 | 0:02:30 | |
the sense of privilege. | 0:02:30 | 0:02:33 | |
In a road movie, at some point, | 0:02:33 | 0:02:34 | |
sheer movement becomes the characters' primary force of existence. | 0:02:34 | 0:02:38 | |
Problems, anxieties, constriction, economics, | 0:02:38 | 0:02:42 | |
ennui, the Middle East, the Dow Jones industrial average, | 0:02:42 | 0:02:46 | |
inflation, Third World creep, nuclear extinction, | 0:02:46 | 0:02:51 | |
the whole past, the whole stinking past | 0:02:51 | 0:02:53 | |
and the whole lousy future converge into one endless horizon. | 0:02:53 | 0:02:57 | |
In art, there's a term for this. It's called the vanishing point. | 0:02:57 | 0:03:01 | |
Now, is a road movie | 0:03:31 | 0:03:33 | |
about characters getting from point A to point B? | 0:03:33 | 0:03:36 | |
Because if it is, then technically | 0:03:36 | 0:03:38 | |
everything from It's A Mad, Mad, Mad, Mad World to Apocalypse Now | 0:03:38 | 0:03:42 | |
is a road movie. | 0:03:42 | 0:03:44 | |
But a true road movie - and I'm being somewhat arbitrary here - | 0:03:44 | 0:03:47 | |
is about escape from oppression. | 0:03:47 | 0:03:49 | |
It's a literal portrayal of rebellion. | 0:03:49 | 0:03:52 | |
If we identify with that rebellion, it's a good road movie, | 0:03:52 | 0:03:54 | |
which is why Thelma & Louise is a good road movie | 0:03:54 | 0:03:58 | |
but the film called Road Trip is a celluloid turd. | 0:03:58 | 0:04:00 | |
Some good films have been made about two guys driving in a car. | 0:04:00 | 0:04:04 | |
Sideways. Paris, Texas. | 0:04:04 | 0:04:07 | |
And, uh... Yeah, what about Dumb & Dumber? | 0:04:07 | 0:04:11 | |
Yeah, what about it? | 0:04:11 | 0:04:12 | |
Hey, want to hear the most annoying sound in the world? | 0:04:12 | 0:04:17 | |
HE SQUAWKS | 0:04:17 | 0:04:21 | |
Guys! Guys! Guys! | 0:04:21 | 0:04:23 | |
If they each had half a brain... | 0:04:23 | 0:04:26 | |
they'd still only have... | 0:04:26 | 0:04:28 | |
..half a brain. | 0:04:30 | 0:04:31 | |
The general rule of thumb is, | 0:04:31 | 0:04:33 | |
as soon as you add a third guy it turns to shit. | 0:04:33 | 0:04:35 | |
The film Coupe de Ville puts a third guy in the back seat of the car | 0:04:35 | 0:04:39 | |
and wit of the most sublime order ensues. | 0:04:39 | 0:04:42 | |
-I'm going to throw up. -No! That is a negative! -Swallow! Gulp in the air! | 0:04:42 | 0:04:46 | |
You're swallowing your own throw-up. You know that, don't you? | 0:04:46 | 0:04:50 | |
A true road film begins with a character or set of characters | 0:04:52 | 0:04:55 | |
who have become disenfranchised from society. | 0:04:55 | 0:04:58 | |
It might be on racial or sexual grounds, | 0:04:58 | 0:05:01 | |
it might be because of economics. Maybe a crime has been committed. | 0:05:01 | 0:05:04 | |
Or maybe it's just a need for self-discovery and self-preservation. | 0:05:04 | 0:05:08 | |
It could be that simple. | 0:05:08 | 0:05:10 | |
Welfare's come and taken baby Langston forever! | 0:05:10 | 0:05:13 | |
He's in that foster home! | 0:05:13 | 0:05:15 | |
I want my baby back! | 0:05:15 | 0:05:17 | |
Are you going to help me or not? | 0:05:17 | 0:05:19 | |
-Well, where is he now? -Over in Sugarland. | 0:05:19 | 0:05:21 | |
In essence, of course, the road movie has always been there. | 0:05:21 | 0:05:25 | |
And in cinema, it's existed since some Technicolor midgets | 0:05:25 | 0:05:30 | |
shouted out directions to it to Dorothy. | 0:05:30 | 0:05:32 | |
An estranged character wanders away from home | 0:05:32 | 0:05:35 | |
and accumulates a makeshift family of drifters, | 0:05:35 | 0:05:37 | |
all of them intent on finding some godhead. | 0:05:37 | 0:05:40 | |
It's pretty much the same plot as Apocalypse Now. | 0:05:40 | 0:05:43 | |
The central conceit of The Wizard of Oz is, of course, | 0:05:43 | 0:05:47 | |
-clearly delineated in the ending. -There's no place like home. | 0:05:47 | 0:05:52 | |
The central conceit of all modern road movies since underscores this. | 0:05:54 | 0:05:58 | |
In essence, that message is "go home or die". | 0:05:58 | 0:06:02 | |
The highway was invented by a Scotsman, John Macadam. | 0:06:12 | 0:06:15 | |
It was mythologised by John Steinbeck, | 0:06:15 | 0:06:18 | |
indulged by Jack Kerouac | 0:06:18 | 0:06:19 | |
and modernised by President Dwight David Eisenhower. | 0:06:19 | 0:06:22 | |
It was cinematically imprinted on filmgoers in the early '70s, | 0:06:22 | 0:06:26 | |
first by Peter Fonda and Dennis Hopper | 0:06:26 | 0:06:28 | |
and later by fledgling directors | 0:06:28 | 0:06:30 | |
like Martin Scorsese, Francis Ford Coppola and Steven Spielberg. | 0:06:30 | 0:06:35 | |
In fact, every celebrated US film director | 0:06:35 | 0:06:38 | |
has at least one road movie in his CV. | 0:06:38 | 0:06:41 | |
The natural tendency of the film camera is to want to capture motion. | 0:06:52 | 0:06:57 | |
The film camera was invented at nearly the same time as the automobile | 0:06:57 | 0:07:00 | |
and, curiously enough, psychoanalysis. | 0:07:00 | 0:07:03 | |
When people are moving, they're not trying to be interesting. | 0:07:03 | 0:07:06 | |
They are trying to get somewhere or away from something. | 0:07:06 | 0:07:11 | |
And in fact, they seldom get what they thought they were after. | 0:07:11 | 0:07:15 | |
Every film scene that you've ever watched that takes place | 0:07:21 | 0:07:24 | |
at a diner or a run-down motel or an old-timey service station | 0:07:24 | 0:07:28 | |
exists because, miraculously, in the early part of last century, | 0:07:28 | 0:07:32 | |
the individual US states and the federal government | 0:07:32 | 0:07:35 | |
realised they were going to have to work together | 0:07:35 | 0:07:38 | |
to keep up with the big chrome giants spilling out of Detroit. | 0:07:38 | 0:07:42 | |
Roads ran through states, but they connected the nation. | 0:07:44 | 0:07:48 | |
So who was supposed to shell out to build and maintain them? | 0:07:48 | 0:07:51 | |
What towns should they pass through? What businesses should they benefit? | 0:07:51 | 0:07:55 | |
Yep, it was a bureaucratic shit fight, | 0:07:55 | 0:07:58 | |
replete with graft, payoffs, back-scratching, | 0:07:58 | 0:08:01 | |
muckraking and pork-barrel politicking. | 0:08:01 | 0:08:04 | |
In 1912, primarily through the efforts | 0:08:04 | 0:08:07 | |
of a geologist and engineer named Logan Waller Page, | 0:08:07 | 0:08:11 | |
the federal and state governments | 0:08:11 | 0:08:13 | |
formed a partnership to expand America's highways. | 0:08:13 | 0:08:15 | |
That partnership levied taxes | 0:08:15 | 0:08:18 | |
on transport, bridges, gasoline, tyres, | 0:08:18 | 0:08:21 | |
oil, windshield wipers, | 0:08:21 | 0:08:23 | |
even driver's licences. | 0:08:23 | 0:08:25 | |
It was a bureaucratic nightmare organisation | 0:08:25 | 0:08:28 | |
called the American Association of State Highway Officials, | 0:08:28 | 0:08:32 | |
or, more colloquially, AASHO. | 0:08:32 | 0:08:35 | |
Logan Waller Page believed that scientific expertise | 0:08:35 | 0:08:39 | |
should supersede bullshit politics when it came to road making. | 0:08:39 | 0:08:42 | |
And so began an expansive decade of very aggressive road engineering. | 0:08:42 | 0:08:47 | |
They experimented with all kinds of surfaces - | 0:08:47 | 0:08:51 | |
limestone, brick, granite, asphalt, | 0:08:51 | 0:08:54 | |
even clam shells. | 0:08:54 | 0:08:56 | |
They covered the surfaces in clay or sand or oil | 0:08:56 | 0:08:58 | |
in an attempt to waterproof them. They bought the right of way both sides of the road. | 0:08:58 | 0:09:03 | |
And by the beginning of the Great Depression, | 0:09:03 | 0:09:05 | |
an amazing network of American roads existed | 0:09:05 | 0:09:08 | |
for the disenfranchised to venture upon. | 0:09:08 | 0:09:11 | |
# I'm a rollin' stone All alone... ' | 0:09:18 | 0:09:23 | |
By the early 1930s, the American government | 0:09:23 | 0:09:25 | |
had categorised over 60% of Americans as poor. | 0:09:25 | 0:09:29 | |
Over one million families had lost their farms, | 0:09:29 | 0:09:31 | |
and that in turn caused millions of homeless to migrate around America. | 0:09:31 | 0:09:36 | |
The highway became incredibly significant to these people, | 0:09:36 | 0:09:39 | |
who sought transience and escape as the only option. | 0:09:39 | 0:09:42 | |
It was captured in all its essence by one character. | 0:09:42 | 0:09:45 | |
Henry Fonda's Tom Joad was the first film character | 0:09:46 | 0:09:50 | |
to see the highway as a revelation. | 0:09:50 | 0:09:52 | |
Based on John Steinbeck's novel The Grapes Of Wrath, | 0:09:52 | 0:09:56 | |
it's a visual representation of the Great Depression | 0:09:56 | 0:10:00 | |
and all its psychological devastation. | 0:10:00 | 0:10:02 | |
-Where's my folks, Muley? -Why, they gone! | 0:10:02 | 0:10:05 | |
I know they're gone, but where? | 0:10:05 | 0:10:07 | |
Everybody's leaving, going out to California. | 0:10:07 | 0:10:10 | |
Your folks, my folks, everybody's folks. | 0:10:10 | 0:10:13 | |
Everybody except me. I ain't getting off. | 0:10:13 | 0:10:17 | |
Who done it? | 0:10:17 | 0:10:18 | |
Released in 1940, it was a film about the recent past | 0:10:18 | 0:10:23 | |
the soil erosion and windstorms of the Dust Bowl, | 0:10:23 | 0:10:26 | |
a period in the American prairie that lasted through the '30s | 0:10:26 | 0:10:30 | |
up to the film's release. | 0:10:30 | 0:10:31 | |
The topsoil of the Midwest had been overtilled and had blown away. | 0:10:31 | 0:10:35 | |
Stock prices were in freefall. Banks were faltering. | 0:10:35 | 0:10:39 | |
Four million people were unemployed. | 0:10:39 | 0:10:41 | |
Sound familiar? | 0:10:41 | 0:10:43 | |
# Tom Joad got out of the old McAllister Pen | 0:10:43 | 0:10:47 | |
# There he got his parole... # | 0:10:47 | 0:10:50 | |
Nowadays, this seems like a quaint era in US history. | 0:10:50 | 0:10:54 | |
Why, you can even buy CDs of songs about it at Starbucks. | 0:10:54 | 0:10:58 | |
There are photographs from that era that young urban couples use | 0:10:58 | 0:11:01 | |
to decorate the walls of their condos. | 0:11:01 | 0:11:03 | |
But if every eighth-grader in the US had had to read The Grapes Of Wrath | 0:11:03 | 0:11:07 | |
instead of Of Mice And Men, which is what I had to read in eighth grade, | 0:11:07 | 0:11:10 | |
probably because it's less text-heavy, | 0:11:10 | 0:11:13 | |
America might be a very different country now. | 0:11:13 | 0:11:16 | |
-The Grapes Of Wrath, please. -I'll have to put you on the waiting list. | 0:11:16 | 0:11:20 | |
We've never had such a demand for a book. | 0:11:20 | 0:11:22 | |
-Do you have a copy of Grapes Of Wrath? -Sorry, we're all sold out. | 0:11:22 | 0:11:25 | |
The Grapes Of Wrath, I think, is one of the most significant books | 0:11:25 | 0:11:30 | |
of the 20th century. | 0:11:30 | 0:11:31 | |
To have a book where there's a national dialogue, | 0:11:31 | 0:11:34 | |
you have the First Lady weighing in and Congressmen talking about it | 0:11:34 | 0:11:38 | |
and lines in libraries | 0:11:38 | 0:11:40 | |
and it's selling hundreds of thousands of copies, | 0:11:40 | 0:11:42 | |
the movie comes out and it all begins again. | 0:11:42 | 0:11:45 | |
-Grapes Of Wrath! -Grapes Of Wrath! | 0:11:45 | 0:11:47 | |
As sales skyrocket, | 0:11:47 | 0:11:49 | |
The Grapes Of Wrath becomes the book of the nation. | 0:11:49 | 0:11:52 | |
Everyone everywhere joins in the discussion of its vital problems. | 0:11:52 | 0:11:56 | |
The power of The Grapes Of Wrath is in using an individual character | 0:11:56 | 0:12:00 | |
to illustrate the socialist themes of the time. | 0:12:00 | 0:12:02 | |
Tom Joad is from a family of sharecroppers in Oklahoma. | 0:12:02 | 0:12:07 | |
He's done a little time in prison for murder in self-defence. | 0:12:07 | 0:12:10 | |
He gets paroled early, comes back to the family's farm, | 0:12:10 | 0:12:13 | |
only to discover they've all headed to California, | 0:12:13 | 0:12:16 | |
where supposedly there's lots of farming jobs that still exist. | 0:12:16 | 0:12:20 | |
Tom catches up with his family | 0:12:20 | 0:12:22 | |
just as the authorities are demolishing his house, | 0:12:22 | 0:12:25 | |
and they all head west in a big old crappy truck | 0:12:25 | 0:12:27 | |
that will return years later carrying the Beverly Hillbillies. | 0:12:27 | 0:12:32 | |
And now at last The Grapes Of Wrath is ready for the screen, | 0:12:32 | 0:12:36 | |
as the motion picture captures all the drama, | 0:12:36 | 0:12:39 | |
suspense, action, tears and laughter | 0:12:39 | 0:12:42 | |
of the story that's stirred a nation. | 0:12:42 | 0:12:45 | |
The Grapes Of Wrath was banned in some municipal libraries in the US | 0:12:45 | 0:12:48 | |
as late as the 1990s. | 0:12:48 | 0:12:50 | |
Some people considered it a fictionalised version of the Communist Manifesto, | 0:12:50 | 0:12:54 | |
and its anticapitalism stance or what you people call socialism | 0:12:54 | 0:12:59 | |
is pretty blatant. | 0:12:59 | 0:13:01 | |
Wherever there's a fight so hungry people can eat, | 0:13:02 | 0:13:06 | |
I'll be there. | 0:13:06 | 0:13:08 | |
Wherever there's a cop beating up a guy, I'll be there. | 0:13:08 | 0:13:12 | |
I'll be in the way guys yell when they're mad. | 0:13:14 | 0:13:18 | |
I'll be in the way kids laugh | 0:13:18 | 0:13:20 | |
when they're hungry and they know supper's ready. | 0:13:20 | 0:13:23 | |
The speech is what everybody remembers. | 0:13:23 | 0:13:26 | |
It says if the people are treated this way, | 0:13:26 | 0:13:28 | |
they're going to become angry and something's going to happen. | 0:13:28 | 0:13:31 | |
# I'm a-blowing down this old dusty road, Lord, Lord | 0:13:31 | 0:13:34 | |
# And I ain't a-going to be treated this way... # | 0:13:34 | 0:13:37 | |
They can't keep pushing people down and cutting wages | 0:13:37 | 0:13:41 | |
without them at some point wanting to grab power, | 0:13:41 | 0:13:45 | |
and so that's threatening to Americans' sense of identity, | 0:13:45 | 0:13:50 | |
of the roots of the American self. | 0:13:50 | 0:13:52 | |
The story is about how humans, when faced with natural disaster | 0:13:54 | 0:13:59 | |
and social structures that destroy their ability to earn a living, | 0:13:59 | 0:14:02 | |
press on with dignity and hope. | 0:14:02 | 0:14:05 | |
And as the movie progresses, the road and the notion of mobility | 0:14:05 | 0:14:08 | |
slowly changes from dystopia to something to be admired. | 0:14:08 | 0:14:12 | |
The Grapes Of Wrath ultimately romanticises wandering, | 0:14:12 | 0:14:16 | |
and it treats perpetual rootlessness as a happy ending. | 0:14:16 | 0:14:20 | |
It's also the first film to romanticise automobile travel. | 0:14:20 | 0:14:24 | |
The cinematographer, Gregg Toland, used lots of low-camera angles | 0:14:26 | 0:14:30 | |
to give cars and flowing traffic a kind of mythical quality. | 0:14:30 | 0:14:35 | |
In fact, he's the first cameraman | 0:14:35 | 0:14:37 | |
to mount a camera to the front of a car, | 0:14:37 | 0:14:39 | |
thus making the viewers feel as if they're moving as well. | 0:14:39 | 0:14:42 | |
The Grapes Of Wrath probably reverberates | 0:14:46 | 0:14:48 | |
more than any other John Ford film, | 0:14:48 | 0:14:50 | |
mainly because the world it predicted has come to pass. | 0:14:50 | 0:14:53 | |
Bank foreclosures are pushing families out of their homes. | 0:14:53 | 0:14:57 | |
Whether you like it or not, we're going through a depression | 0:14:57 | 0:15:00 | |
marked by catastrophic climate change. | 0:15:00 | 0:15:02 | |
Disasters like Katrina, both the natural one | 0:15:02 | 0:15:05 | |
and the man-made one that followed have created an army of migrants. | 0:15:05 | 0:15:09 | |
We don't pay as much attention to displaced people nowadays, | 0:15:09 | 0:15:12 | |
mostly because they aren't white like the Joads. | 0:15:12 | 0:15:16 | |
A few years ago, a film called Little Miss Sunshine | 0:15:16 | 0:15:19 | |
won the Academy Award for Best Screenplay. | 0:15:19 | 0:15:22 | |
It was a road film and its similarities | 0:15:22 | 0:15:24 | |
to The Grapes Of Wrath are somewhat notable. | 0:15:24 | 0:15:26 | |
A family packs itself into a caravan and heads to California. | 0:15:29 | 0:15:33 | |
Along the way, Grandpa kicks the bucket, | 0:15:33 | 0:15:35 | |
so they have to give him a dirt nap. | 0:15:35 | 0:15:38 | |
They break down. They recover. They press on. | 0:15:38 | 0:15:42 | |
And when they arrive in California, | 0:15:42 | 0:15:44 | |
they discover promises built on sand. | 0:15:44 | 0:15:47 | |
The main difference is that what constituted a rotten dream in 1940 | 0:15:47 | 0:15:51 | |
was inhumane working conditions. | 0:15:51 | 0:15:53 | |
By 2005, it's the vulgarity of a children's beauty contest. | 0:15:53 | 0:15:57 | |
Which goes to show just how far America's Misery Index | 0:15:57 | 0:16:01 | |
has actually progressed in 70 years. | 0:16:01 | 0:16:03 | |
After The Grapes Of Wrath, the Great American Depression | 0:16:05 | 0:16:08 | |
became nothing more than a backdrop for gangster films | 0:16:08 | 0:16:11 | |
and those gold-digger musicals where lots of female dancers | 0:16:11 | 0:16:14 | |
would spread their legs to make dazzling kaleidoscopic patterns. | 0:16:14 | 0:16:18 | |
# There was a chill that night | 0:16:20 | 0:16:23 | |
# In the hobo jungle... # | 0:16:23 | 0:16:26 | |
To be rootless and to be homeless are two distinctly different things. | 0:16:28 | 0:16:32 | |
Not all those who wander are lost. | 0:16:32 | 0:16:35 | |
Most people think that the era of the hobo ended with the Depression. | 0:16:35 | 0:16:38 | |
It didn't. | 0:16:38 | 0:16:39 | |
As a kid, I became infatuated with Woody Guthrie and his songs | 0:16:43 | 0:16:48 | |
and I just wondered what it was like to actually hop a train. | 0:16:48 | 0:16:54 | |
You're singing songs about it, | 0:16:54 | 0:16:56 | |
let's put down the guitar and see what it's like. | 0:16:56 | 0:16:59 | |
Ever since Dick Dillof was 19, he had a desire to move, | 0:17:00 | 0:17:04 | |
not because of a need to work but because, for 40 years, | 0:17:04 | 0:17:07 | |
it fit in with his desire to be a compulsive wanderer. | 0:17:07 | 0:17:11 | |
# Train on the island Can't they hear it blow? | 0:17:14 | 0:17:17 | |
# Won't you tell my little gal I'm sick and I must go | 0:17:19 | 0:17:22 | |
# Sick and I must go, boy Sick and I must go. # | 0:17:22 | 0:17:25 | |
There's just something about moving in those big heavy metal boxcars | 0:17:29 | 0:17:36 | |
and the rhythm of the cars shaking back and forth and the trucks. | 0:17:36 | 0:17:42 | |
'You see a lot, you see things that people don't see from the road.' | 0:17:43 | 0:17:49 | |
You're seeing a life from a boxcar door. And maybe... | 0:17:49 | 0:17:53 | |
Maybe in some ways, it's something primal that is activated in you, | 0:17:53 | 0:17:59 | |
something set off and you feel like... | 0:17:59 | 0:18:02 | |
..not a dog or a hound, but a coyote, | 0:18:04 | 0:18:08 | |
you feel like a wolf, you feel like you're some feral creature | 0:18:08 | 0:18:11 | |
who is looking in at the world from the outside. | 0:18:11 | 0:18:14 | |
It's almost like there's people who wander and people who hike. | 0:18:22 | 0:18:27 | |
There's people who are whittling and sculpting - different. | 0:18:27 | 0:18:32 | |
And drifting and roaming and rambling | 0:18:32 | 0:18:34 | |
is different than planning a vacation or even a planned adventure. | 0:18:34 | 0:18:39 | |
You can't control the train, | 0:18:39 | 0:18:41 | |
there's no schedule you have in your back pocket. | 0:18:41 | 0:18:44 | |
You don't know where you're going to end up. | 0:18:44 | 0:18:46 | |
Uncertainty is a big word there. | 0:18:46 | 0:18:49 | |
Rich really is inspiring me, just with his general feral presence... | 0:18:52 | 0:18:59 | |
to pull out all kinds of stuff that I normally wouldn't pull out. | 0:18:59 | 0:19:04 | |
I have noticed the difference. | 0:19:12 | 0:19:14 | |
I'm sure many people who've travelled around in the old days | 0:19:14 | 0:19:17 | |
have seen things change quite a bit. | 0:19:17 | 0:19:19 | |
It seems like transient life is on the decline. | 0:19:19 | 0:19:22 | |
I don't think I'd do it now. It's a funny thing, | 0:19:22 | 0:19:25 | |
even hitchhiking is difficult to do at this time. | 0:19:25 | 0:19:28 | |
There's nobody, even old hitchhikers don't pick up new ones. | 0:19:28 | 0:19:33 | |
Highways transformed America's landscape | 0:20:01 | 0:20:03 | |
more than anything else in its past. | 0:20:03 | 0:20:06 | |
More than architecture, more than politics, more than war | 0:20:06 | 0:20:10 | |
and in an incredibly compressed amount of time. | 0:20:10 | 0:20:13 | |
The film Detour, made in 1945, | 0:20:13 | 0:20:17 | |
shows a cynical view of post-World War II America, | 0:20:17 | 0:20:20 | |
one that was already beginning to litter its highway | 0:20:20 | 0:20:23 | |
with psychological wrecks. Much like The Grapes Of Wrath, | 0:20:23 | 0:20:26 | |
it's about trying to get to the Promised Land, California. | 0:20:26 | 0:20:29 | |
In The Grapes Of Wrath, the road unifies its characters. | 0:20:29 | 0:20:32 | |
In Detour, it alienates them. | 0:20:32 | 0:20:34 | |
Let's have something quieter this time, Joe, my head is splitting. | 0:20:36 | 0:20:40 | |
Is that what's wrong with it? | 0:20:40 | 0:20:42 | |
-Done with your coffee? -No. And don't rush me, will ya? | 0:20:44 | 0:20:48 | |
MUSIC PLAYS ON JUKEBOX | 0:20:48 | 0:20:50 | |
Hey, turn that off! Will ya turn that thing off? | 0:20:54 | 0:20:57 | |
-What's eatin' you now? -What's eatin' you? | 0:20:57 | 0:20:59 | |
-That music - it stinks. -You don't like it, huh? -No. Turn it off! | 0:20:59 | 0:21:02 | |
Wait a minute, pal. That was my nickel, see? | 0:21:02 | 0:21:05 | |
This is a free country and I play whatever I want to. | 0:21:05 | 0:21:09 | |
A pianist named Al Roberts decides to hitchhike across America | 0:21:09 | 0:21:12 | |
to meet up with his girlfriend in California. He accepts a ride | 0:21:12 | 0:21:16 | |
from a pill-popping, conman stranger named Haskell. | 0:21:16 | 0:21:19 | |
Haskell suddenly dies of a heart attack, | 0:21:19 | 0:21:22 | |
leaving Al looking awfully suspicious. | 0:21:22 | 0:21:25 | |
'So, what else was there to do but hide the body | 0:21:25 | 0:21:27 | |
'and get away in the car? I couldn't leave the car there, | 0:21:27 | 0:21:30 | |
'with him in the gully. That would be like erecting a tombstone.' | 0:21:30 | 0:21:33 | |
Al ends up taking Haskell's wallet, clothes and car - | 0:21:37 | 0:21:40 | |
essentially he steals his identity. | 0:21:40 | 0:21:42 | |
This same theme will reappear years later | 0:21:42 | 0:21:44 | |
in Michael Antonioni's The Passenger. | 0:21:44 | 0:21:47 | |
Then comes more trouble, | 0:21:48 | 0:21:50 | |
in the shape of a skirt and two getaway sticks. | 0:21:50 | 0:21:52 | |
-What's your name? -You can call me Vera, if you like. | 0:21:52 | 0:21:56 | |
-You live in Los Angeles? -No. | 0:21:56 | 0:22:00 | |
-Where you coming from? -Oh, back there. -Needles? -No. | 0:22:00 | 0:22:04 | |
Needles isn't a heroin reference. | 0:22:04 | 0:22:06 | |
It's a place in California. | 0:22:06 | 0:22:07 | |
Vera's previously been in Haskell's car, | 0:22:07 | 0:22:09 | |
knows who he is, believes Al killed him | 0:22:09 | 0:22:11 | |
and she's in a position to manipulate him at will. | 0:22:11 | 0:22:14 | |
-You've got all the earmarks of a cheap crook. -Now, wait a minute! | 0:22:14 | 0:22:17 | |
Shut up! You're a cheap crook and you killed him. | 0:22:17 | 0:22:19 | |
For two cents, I'd change my mind and turn you in. I don't like you! | 0:22:19 | 0:22:22 | |
All right, don't get sore. | 0:22:22 | 0:22:24 | |
I'm not getting sore, but just remember who's boss around here. | 0:22:24 | 0:22:27 | |
If you shut up and don't give me any arguments, | 0:22:27 | 0:22:29 | |
you'll have nothing to worry about. But if you act wise, well, | 0:22:29 | 0:22:32 | |
you'll pop into jail so fast it'll give you the bends. | 0:22:32 | 0:22:35 | |
-I'm not arguing. -Well, see that you don't! | 0:22:35 | 0:22:37 | |
Edgar G Ulmer shot Detour in only six days. | 0:22:37 | 0:22:40 | |
It was made roughly a quarter of a century | 0:22:40 | 0:22:42 | |
before the spate of low-budget road movies | 0:22:42 | 0:22:44 | |
that dominated the early '70s. | 0:22:44 | 0:22:46 | |
It's also the first psychological road movie. | 0:22:46 | 0:22:49 | |
The Grapes Of Wrath was about enlightenment | 0:22:49 | 0:22:51 | |
but Detour shows the road as a dismal dead end. Why? | 0:22:51 | 0:22:55 | |
I'll tell you why - | 0:22:55 | 0:22:56 | |
because Al is going to end up killing Vera, that's why. | 0:22:56 | 0:22:59 | |
He's going to spend the rest of his life on the run. | 0:22:59 | 0:23:01 | |
That's a detour of his dreams. | 0:23:01 | 0:23:03 | |
In 1945, the general perception | 0:23:03 | 0:23:06 | |
was that a woman's place was in the home. | 0:23:06 | 0:23:08 | |
But Ulmer shows the car as the great equalizer, | 0:23:08 | 0:23:11 | |
because it gives everyone equal mobility. | 0:23:11 | 0:23:14 | |
And when women leave the house, bad shit starts to happen. | 0:23:14 | 0:23:18 | |
-You know, there ought to be a law against dames with claws. -Yeah. | 0:23:18 | 0:23:22 | |
I tossed her out of the car on her ear. | 0:23:22 | 0:23:24 | |
Was I wrong? | 0:23:24 | 0:23:26 | |
You give a lift to a tomato, | 0:23:26 | 0:23:28 | |
-you expect her to be nice, don't you? -Yeah. | 0:23:28 | 0:23:31 | |
After all, what kind of dames thumb rides? | 0:23:31 | 0:23:32 | |
-Sunday school teachers(?) -Yeah. | 0:23:32 | 0:23:35 | |
# See the USA In your Chevrolet | 0:23:35 | 0:23:40 | |
# America's asking you to call | 0:23:40 | 0:23:43 | |
# Drive your Chevrolet Through the USA | 0:23:43 | 0:23:47 | |
# America's the greatest land of all... # | 0:23:47 | 0:23:49 | |
While the European New Wave cinema movement of the '50s | 0:23:49 | 0:23:52 | |
was making noirish, cynical road films | 0:23:52 | 0:23:55 | |
like La Strada and Wages of Fear, | 0:23:55 | 0:23:58 | |
America was comfortably ensconced | 0:23:58 | 0:24:01 | |
in a, uh...bedrock of conformability and consumerism. | 0:24:01 | 0:24:05 | |
The fact that Dinah Shore felt compelled to sing about Chevrolets | 0:24:05 | 0:24:08 | |
was a sure sign that Detroit was entering its Golden Age. | 0:24:08 | 0:24:12 | |
Henry Ford's assembly line approach to making cars | 0:24:12 | 0:24:15 | |
stretched to every facet of consumerism. | 0:24:15 | 0:24:18 | |
Come on now, I want you to meet a great new star. | 0:24:18 | 0:24:21 | |
The new 1953 Chevrolet. Isn't that a sight to take your breath away? | 0:24:23 | 0:24:27 | |
There I go getting carried away again! | 0:24:27 | 0:24:29 | |
I could just talk about it all day! | 0:24:29 | 0:24:31 | |
The '50s saw the rise of mass-produced neighbourhoods | 0:24:35 | 0:24:38 | |
like Levittown, Long Island, | 0:24:38 | 0:24:39 | |
where a family could purchase a custom model home, | 0:24:39 | 0:24:43 | |
replete with built-in appliances and a garage, | 0:24:43 | 0:24:46 | |
available in either Cape Cod or Ranch model. | 0:24:46 | 0:24:48 | |
It's amazing the houses themselves | 0:24:48 | 0:24:51 | |
didn't have tailfins and chrome porches. | 0:24:51 | 0:24:54 | |
# ..And a feeling of spring in the air. # | 0:24:54 | 0:24:57 | |
In 1952, America was good but its roads weren't. | 0:24:57 | 0:25:00 | |
And in a nation grateful to be free of war, | 0:25:00 | 0:25:03 | |
50,000 people a year were dying on its highways. | 0:25:03 | 0:25:07 | |
They were cramped, badly signposted and horribly maintained. | 0:25:07 | 0:25:11 | |
# If you ever plan to motor west... # | 0:25:11 | 0:25:14 | |
America's main highway, Route 66, | 0:25:14 | 0:25:17 | |
had turned into something resembling a human artery | 0:25:17 | 0:25:20 | |
trying to push chunks of butter from Chicago to Los Angeles. | 0:25:20 | 0:25:24 | |
Route 66 had this wonderful history | 0:25:24 | 0:25:27 | |
of taking America into a new direction, into its modern self. | 0:25:27 | 0:25:32 | |
People started piling on this road, mostly in Chicago | 0:25:32 | 0:25:35 | |
and moving down it to the Southwest of the United States. | 0:25:35 | 0:25:39 | |
It was this movement down Route 66 that I think personifies | 0:25:39 | 0:25:43 | |
what America means and what highways mean to America | 0:25:43 | 0:25:46 | |
and what America means to the road culture and the world. | 0:25:46 | 0:25:49 | |
And 66 caught the Americans' romance and desire | 0:25:49 | 0:25:54 | |
to get out and move along this romantic road. | 0:25:54 | 0:25:57 | |
# Get your kicks on Route 66. # | 0:25:57 | 0:26:02 | |
It was romantic in name only. | 0:26:02 | 0:26:04 | |
Despite or perhaps because of Nat King Cole's song, | 0:26:04 | 0:26:08 | |
Route 66 quickly became a clogged, tourist hellhole, | 0:26:08 | 0:26:11 | |
festering with rancid eateries, alligator farms, | 0:26:11 | 0:26:14 | |
malaria pit motor courts, rubber tomahawk stands | 0:26:14 | 0:26:16 | |
and roadside zoos where shrieking hypoglycaemic children | 0:26:16 | 0:26:20 | |
stuffed jelly beans into the nostrils of terrified ungulates. | 0:26:20 | 0:26:24 | |
Something had to change. | 0:26:24 | 0:26:25 | |
What was the point of owning a sleek, automotive marvel | 0:26:25 | 0:26:28 | |
of design and function when there was nowhere to go with it? | 0:26:28 | 0:26:31 | |
The most popular road movie of the '50s, The Long, Long Trailer, | 0:26:37 | 0:26:41 | |
was a sanitized mockery of the real highway system. | 0:26:41 | 0:26:44 | |
It amounted to a two-hour travel infomercial. | 0:26:44 | 0:26:47 | |
All hilarity breaks loose as we hit the road | 0:26:47 | 0:26:50 | |
in a blaze of glorious matrimony. | 0:26:50 | 0:26:52 | |
I didn't tell you to turn right! | 0:26:52 | 0:26:55 | |
You said, "Turn right here," and I turned right! | 0:26:55 | 0:26:58 | |
You didn't let me finish, I was trying to tell you to turn left. | 0:26:58 | 0:27:01 | |
What I was trying to is, "You turn right here, left." | 0:27:01 | 0:27:04 | |
Fortunately, one man had a vision. | 0:27:09 | 0:27:11 | |
It's always the case, isn't it? President Dwight David Eisenhower. | 0:27:11 | 0:27:16 | |
Back when he was Supreme Allied Commander of European Forces | 0:27:16 | 0:27:19 | |
during World War II, Ike had noticed something | 0:27:19 | 0:27:22 | |
while chasing Hitler up and down Germany - | 0:27:22 | 0:27:24 | |
the country seemed to have amazing roads. | 0:27:24 | 0:27:27 | |
The autobahn was an impressive piece of physical propaganda. | 0:27:27 | 0:27:30 | |
It was supposed to convince the world | 0:27:30 | 0:27:32 | |
Germany had an unrivalled transport infrastructure. | 0:27:32 | 0:27:35 | |
It was clean and wide, with streamlined access ramps, | 0:27:35 | 0:27:39 | |
magnificently cantilevered overpasses, | 0:27:39 | 0:27:42 | |
designed for speeds of up to 100 mph. | 0:27:42 | 0:27:44 | |
And it led...nowhere. Most of it lay unfinished | 0:27:44 | 0:27:48 | |
and the stretches that did work were captured by the Allies, | 0:27:48 | 0:27:51 | |
who used it to chase Hitler back to Berlin...at speeds of up to 100 mph. | 0:27:51 | 0:27:55 | |
When Eisenhower became President, | 0:27:55 | 0:27:58 | |
his foremost agenda was to improve America's roads. | 0:27:58 | 0:28:01 | |
While AASHO was still trying to figure out | 0:28:01 | 0:28:04 | |
how to improve the existing roads, | 0:28:04 | 0:28:05 | |
Eisenhower just bypassed the whole shebang | 0:28:05 | 0:28:08 | |
and instituted the Federal Aid Highway Act, | 0:28:08 | 0:28:12 | |
which called for 40,000 miles of autobahn-grade road | 0:28:12 | 0:28:16 | |
to be built over the next 12 years. | 0:28:16 | 0:28:19 | |
This was the beginning of the American interstate system. | 0:28:19 | 0:28:23 | |
American highway travel was coming out of the stone age, | 0:28:23 | 0:28:27 | |
which is a cheap reference... to the background behind me. | 0:28:27 | 0:28:30 | |
Nothing before or since has had a more profound impact | 0:28:36 | 0:28:40 | |
on how Americans transport themselves. | 0:28:40 | 0:28:43 | |
It connected farms to cities. It connected cities to other cities. | 0:28:43 | 0:28:47 | |
It was directly responsible for the explosion | 0:28:47 | 0:28:50 | |
of megalopolises like Los Angeles, Atlanta and Dallas. | 0:28:50 | 0:28:54 | |
It homogenized America. A nation that up to then | 0:28:54 | 0:28:57 | |
had been more or less growing vertically, went horizontal. | 0:28:57 | 0:29:00 | |
He had a mission and it was to modernise America, | 0:29:00 | 0:29:04 | |
improve the quality of life, | 0:29:04 | 0:29:05 | |
and he pursued that down the American highway. | 0:29:05 | 0:29:09 | |
It was his goal to build what he called wider ribbons across the land. | 0:29:09 | 0:29:14 | |
He knew that we had poor roads. | 0:29:14 | 0:29:16 | |
He knew what good roads that he'd seen in Germany could do | 0:29:16 | 0:29:20 | |
and he wanted that for America. | 0:29:20 | 0:29:22 | |
Over the next ten years, | 0:29:22 | 0:29:24 | |
the amount of dirt removed to build America's interstate systems | 0:29:24 | 0:29:29 | |
was 42 billion cubic yards. | 0:29:29 | 0:29:31 | |
That's the equivalent of digging both the Suez | 0:29:31 | 0:29:34 | |
and the Panama Canal 33 times over. | 0:29:34 | 0:29:37 | |
Even as the interstates were being built, | 0:29:37 | 0:29:39 | |
men like Ray Kroc, the founder of McDonalds, | 0:29:39 | 0:29:41 | |
and Kemmons Wilson, founder of Holiday Inn, | 0:29:41 | 0:29:44 | |
were flying the length and breadth of it in their planes, | 0:29:44 | 0:29:47 | |
making note of every access ramp | 0:29:47 | 0:29:49 | |
and plotting the death of variety, individualism | 0:29:49 | 0:29:53 | |
and small business practices here in the good old US of A. | 0:29:53 | 0:29:56 | |
# How can you keep on movin' | 0:30:03 | 0:30:05 | |
# Unless you migrate too? | 0:30:05 | 0:30:08 | |
# They tell you to keep on movin' | 0:30:08 | 0:30:10 | |
# But migrate you must not do | 0:30:10 | 0:30:12 | |
# The only reason for moving | 0:30:12 | 0:30:15 | |
# And the reason that I roam | 0:30:15 | 0:30:17 | |
# Is to go a new location | 0:30:17 | 0:30:20 | |
# And find myself a home... # | 0:30:20 | 0:30:23 | |
Modern Road films - that is, films about restlessness - | 0:30:23 | 0:30:26 | |
began to gestate in the '50s. | 0:30:26 | 0:30:28 | |
Poets like Allen Ginsberg and Lawrence Ferlinghetti | 0:30:28 | 0:30:31 | |
turned drift and disaffection into a literary movement. | 0:30:31 | 0:30:35 | |
They were the beaten down generation. | 0:30:35 | 0:30:37 | |
Or "beats" as they were called. | 0:30:37 | 0:30:39 | |
Maybe it was a lot of self-indulgent tripe, who knows? | 0:30:39 | 0:30:42 | |
But even rich white kids need some kind of an outlet. | 0:30:42 | 0:30:44 | |
I saw the best minds of my generation | 0:30:46 | 0:30:49 | |
destroyed by madness, | 0:30:49 | 0:30:51 | |
starving, hysterical, naked, | 0:30:51 | 0:30:54 | |
dragging themselves through the negro streets at dawn, | 0:30:54 | 0:30:57 | |
looking for an angry fix. | 0:30:57 | 0:30:59 | |
Angel-headed hipsters... | 0:30:59 | 0:31:01 | |
Purists and literary scholars called beat poetry trash. | 0:31:01 | 0:31:05 | |
To younger people, no higher commendation could be awarded. | 0:31:05 | 0:31:09 | |
Beat was a movement that challenged everything | 0:31:09 | 0:31:11 | |
the bland, insipid Eisenhower generation represented. | 0:31:11 | 0:31:14 | |
The Beatnik scene celebrated spontaneity over craftsmanship | 0:31:14 | 0:31:18 | |
and Jack Kerouac's novel On The Road was its manifesto. | 0:31:18 | 0:31:22 | |
People were afraid of it. They were afraid of | 0:31:22 | 0:31:24 | |
the subject matter and the drugs. | 0:31:24 | 0:31:27 | |
I mean, in 1947 or 8, when he wrote it... | 0:31:27 | 0:31:30 | |
It wasn't published until '57, | 0:31:30 | 0:31:33 | |
so the drug use was really not something that people wrote about. | 0:31:33 | 0:31:37 | |
On the road is a story about two young men - | 0:31:37 | 0:31:40 | |
Sal Paradise and Dean Moriarty - | 0:31:40 | 0:31:42 | |
who travel frantically back and forth across America | 0:31:42 | 0:31:45 | |
seeking vicarious thrills. | 0:31:45 | 0:31:47 | |
The novel is actually a thinly-veiled account | 0:31:47 | 0:31:50 | |
of Keroauc's own life in the late 1940s - | 0:31:50 | 0:31:52 | |
a breathless, almost celestial celebration of | 0:31:52 | 0:31:55 | |
the bohemian lifestyle. | 0:31:55 | 0:31:57 | |
Having read Kerouac, it just seemed so enticing | 0:31:58 | 0:32:01 | |
to stick out my thumb at the other side of the Holland Tunnel | 0:32:01 | 0:32:05 | |
and head for California. | 0:32:05 | 0:32:06 | |
And so there, you know, a week later, | 0:32:06 | 0:32:09 | |
having travelled Route 66 from Chicago to LA, | 0:32:09 | 0:32:12 | |
just like the song, you know, | 0:32:12 | 0:32:14 | |
and having met incredible, weird people along the way. | 0:32:14 | 0:32:18 | |
People that I didn't know existed. | 0:32:18 | 0:32:20 | |
I thought all the nuts were in the city of New York | 0:32:20 | 0:32:23 | |
but, my God, Oklahoma had its fair share. | 0:32:23 | 0:32:26 | |
Kerouac's writing fostered a raft of legends. | 0:32:27 | 0:32:31 | |
Kerouac doesn't slow down for punctuation. | 0:32:31 | 0:32:33 | |
Kerouac can write a novel in a week, | 0:32:33 | 0:32:35 | |
cranked up on Benzedrine, cigarettes and gin. | 0:32:35 | 0:32:38 | |
A single draft is all Kerouac ever needs. | 0:32:38 | 0:32:40 | |
His spontaneous hep-cat style inspired literature | 0:32:40 | 0:32:44 | |
and the film-making of French New Wave directors like Jean Luc Godard | 0:32:44 | 0:32:48 | |
and Francois Truffaut. | 0:32:48 | 0:32:50 | |
Its overriding ideal was this - | 0:32:50 | 0:32:52 | |
the first thought is the most important thought. | 0:32:52 | 0:32:56 | |
Rewriting kills instinctual purity. | 0:32:56 | 0:32:58 | |
The manuscript for On The Road | 0:32:58 | 0:33:00 | |
was written on a single 200-yard teletype roll, | 0:33:00 | 0:33:03 | |
to save Kerouac the effort of changing typing paper. | 0:33:03 | 0:33:06 | |
Its existence acquired mythical proportions, | 0:33:06 | 0:33:09 | |
like a Dead Sea Scroll. | 0:33:09 | 0:33:11 | |
But it was all a bit pre-calculated. | 0:33:13 | 0:33:15 | |
Jack Kerouac did not write On The Road in six days or two weeks. | 0:33:15 | 0:33:20 | |
It took him ten years. | 0:33:20 | 0:33:21 | |
Scores of drafts of the book have been uncovered. | 0:33:21 | 0:33:24 | |
One of them is in French. | 0:33:24 | 0:33:25 | |
The Beat writers wanted people to believe | 0:33:25 | 0:33:28 | |
that they were artistically exalted, spontaneous, | 0:33:28 | 0:33:30 | |
off the cuff, non-revisionists. | 0:33:30 | 0:33:32 | |
What Allan Ginsberg described as "angel-headed hipsters | 0:33:32 | 0:33:36 | |
"burning for the ancient heavenly connection." | 0:33:36 | 0:33:38 | |
They were high. They wanted to kick the ladder out from underneath them. | 0:33:40 | 0:33:43 | |
Kerouac never made much money off of his books, | 0:33:46 | 0:33:48 | |
which preserved his literary status. | 0:33:48 | 0:33:51 | |
He also drank himself to death. | 0:33:51 | 0:33:53 | |
That's good for pickling your reputation. | 0:33:53 | 0:33:55 | |
The purported "holy scroll" for On The Road | 0:33:55 | 0:33:58 | |
was eventually purchased at auction | 0:33:58 | 0:33:59 | |
by the owner of the Indianapolis Colts Pro Football Team | 0:33:59 | 0:34:03 | |
for 2.2 million. | 0:34:03 | 0:34:06 | |
That's about 500 times more than he was ever paid in advance royalties. | 0:34:06 | 0:34:10 | |
Incidentally, the scroll was perfectly punctuated. | 0:34:10 | 0:34:14 | |
Kerouac went home to mama. He was always a bit of a mama's boy | 0:34:14 | 0:34:17 | |
and he went home to mama and boozed it up in Florida, voted Republican, | 0:34:17 | 0:34:21 | |
was sort of a big, fat drunk with his liver giving out. | 0:34:21 | 0:34:24 | |
And he sort of put down all of his former comrades at the end. | 0:34:24 | 0:34:30 | |
So it's hard to live that outlaw life forever, you know? | 0:34:30 | 0:34:33 | |
# Well, God said to Abraham, Kill me a son | 0:34:34 | 0:34:38 | |
# Abe said, man, You must be putting me on | 0:34:38 | 0:34:42 | |
# God said, no | 0:34:42 | 0:34:44 | |
# Abe said, what? | 0:34:44 | 0:34:45 | |
# God said you can do what you want, Abe, but | 0:34:45 | 0:34:49 | |
# The next time you see me coming You better run... # | 0:34:49 | 0:34:54 | |
# ..Well, Abe said, all right, where do you want this killing done? | 0:34:58 | 0:35:02 | |
# God said on Highway 61... # | 0:35:02 | 0:35:06 | |
The influence of New Wave directors | 0:35:09 | 0:35:12 | |
like Godard and Truffaut on American Cinema in 1967 | 0:35:12 | 0:35:17 | |
explains why they were both offered Bonnie And Clyde to direct. | 0:35:17 | 0:35:22 | |
They both turned it down. Arthur Penn accepted the offer. | 0:35:22 | 0:35:25 | |
He made a film that would change American cinema forever. | 0:35:25 | 0:35:28 | |
Bonnie and Clyde takes place in the '30s | 0:35:35 | 0:35:37 | |
but it speaks for the stultifying tedium of youth | 0:35:37 | 0:35:39 | |
trapped in nowhere places anywhere in the world. | 0:35:39 | 0:35:42 | |
In the opening scene, when Bonnie first meets Clyde, | 0:35:42 | 0:35:45 | |
he is stealing a car. | 0:35:45 | 0:35:47 | |
Rather than be repelled by this, she is attracted. | 0:35:47 | 0:35:50 | |
It creates a new cinematic reason for leaving - | 0:35:50 | 0:35:52 | |
boredom - the great oppression of the modern age. | 0:35:52 | 0:35:57 | |
GUNSHOTS | 0:35:57 | 0:36:00 | |
It's this desire to escape, | 0:36:03 | 0:36:05 | |
from what for all the world looks like comfort, that propels the film. | 0:36:05 | 0:36:08 | |
There's a car visible in almost every scene of Bonnie And Clyde. | 0:36:08 | 0:36:12 | |
It's there at the beginning, when he tries to steal one, | 0:36:12 | 0:36:14 | |
and it's there in the final frame. | 0:36:14 | 0:36:16 | |
Bonnie And Clyde is a film where driving is central to the plot, | 0:36:19 | 0:36:23 | |
where character and car become more or less inseparable | 0:36:23 | 0:36:26 | |
because their forward momentum depends on it. | 0:36:26 | 0:36:28 | |
Bonnie And Clyde elevated vehicles to star status. | 0:36:28 | 0:36:31 | |
Throughout the film, the story fills up with characters | 0:36:35 | 0:36:38 | |
all wanting to join the Barrow Gang - | 0:36:38 | 0:36:41 | |
a kind of placebo family unit, | 0:36:41 | 0:36:44 | |
not unlike the one that comes together in The Wizard Of Oz. | 0:36:44 | 0:36:47 | |
Every one of them seduced by the notion of mobility. | 0:36:47 | 0:36:51 | |
A gas station attendant named CJ Moss joins the gang | 0:36:51 | 0:36:54 | |
while he's filling up their car with gas. | 0:36:54 | 0:36:57 | |
He's followed by Clyde's brother and sister-in-law, Buck and Blanche. | 0:36:57 | 0:37:01 | |
Even when the Barrow Gang takes hostages, | 0:37:01 | 0:37:04 | |
it doesn't take long for mobility to transform them | 0:37:04 | 0:37:06 | |
from prisoners into travelling companions. | 0:37:06 | 0:37:09 | |
'Their paths crossed like two hot wires. | 0:37:09 | 0:37:12 | |
'They roared off on what might easily have been a wild, romantic lark.' | 0:37:13 | 0:37:18 | |
GUNSHOTS | 0:37:18 | 0:37:20 | |
'But almost before they knew it, with giggles still in their ears, | 0:37:20 | 0:37:24 | |
'they had bloodied up four states.' | 0:37:24 | 0:37:27 | |
Even though it's set in the past, Bonnie And Clyde captured perfectly | 0:37:27 | 0:37:32 | |
the counter-culture mindset of 1967. | 0:37:32 | 0:37:34 | |
It tried to show that physical movement | 0:37:34 | 0:37:37 | |
was preferable to the comfort and stability of staying at home. | 0:37:37 | 0:37:41 | |
It was a radical movie but, like most radical movies, | 0:37:41 | 0:37:44 | |
it ends with a conservative point of view - The Wizard Of Oz motto - | 0:37:44 | 0:37:48 | |
there's no place like home | 0:37:48 | 0:37:50 | |
and to leave will result in tragedy. | 0:37:50 | 0:37:53 | |
You know, you could get shot... repeatedly. | 0:37:53 | 0:37:56 | |
426 times. | 0:37:56 | 0:37:58 | |
HAIL OF BULLETS | 0:37:58 | 0:38:00 | |
Bonnie And Clyde was followed a year and a half later by Easy Rider. | 0:38:04 | 0:38:08 | |
And Easy Rider was directed by a man so high on drugs | 0:38:08 | 0:38:11 | |
he actually thought he was a French New Wave film director. | 0:38:11 | 0:38:15 | |
Dennis Hopper's film - God rest his soul - | 0:38:15 | 0:38:18 | |
moves way beyond Bonnie And Clyde as an expression of rebellion. | 0:38:18 | 0:38:21 | |
Billy and Wyatt are both as mobile as other Americans | 0:38:21 | 0:38:26 | |
but because they're bikers, they're outsiders. | 0:38:26 | 0:38:29 | |
This was a cinematic trope that was first developed | 0:38:29 | 0:38:33 | |
by the Roger Corman AIP-type biker films of the '50s. | 0:38:33 | 0:38:36 | |
Not coincidentally, Jack Nicholson, Peter Fonda | 0:38:36 | 0:38:40 | |
and Dennis Hopper had all previously starred in low-budget biker films. | 0:38:40 | 0:38:44 | |
Hey, you got a room? | 0:38:44 | 0:38:46 | |
Hey, man?! | 0:38:49 | 0:38:51 | |
Easy Rider is probably the greatest example ever of a bad film | 0:38:51 | 0:38:55 | |
being made at just the right time. | 0:38:55 | 0:38:57 | |
American culture in 1969 was having a hard time | 0:38:57 | 0:39:00 | |
figuring out just what it was supposed to be. | 0:39:00 | 0:39:02 | |
Young audiences embraced Easy Rider | 0:39:02 | 0:39:04 | |
because in its muddled way it made sense. | 0:39:04 | 0:39:06 | |
Also it had a cool soundtrack - | 0:39:06 | 0:39:09 | |
a last-minute decision - that cost eight times as much as the film. | 0:39:09 | 0:39:12 | |
But for budding directors, | 0:39:12 | 0:39:14 | |
many from the first crop of film school matriculation | 0:39:14 | 0:39:17 | |
at NYU and UCLA, | 0:39:17 | 0:39:20 | |
Easy Rider made film-making look DIY possible. | 0:39:20 | 0:39:24 | |
I never really thought of myself as a freak, you know? | 0:39:24 | 0:39:27 | |
But I love to freak. | 0:39:27 | 0:39:29 | |
In Easy Rider, the two main characters | 0:39:29 | 0:39:31 | |
and their Harleys are completely fused. | 0:39:31 | 0:39:34 | |
Dennis Hopper's bike is full of cocaine. | 0:39:34 | 0:39:36 | |
So was Dennis Hopper at the time. | 0:39:36 | 0:39:37 | |
I've got to get out of here, man. We've got things we want to do, man. | 0:39:37 | 0:39:42 | |
Like, I... I got to get out of here, man. | 0:39:42 | 0:39:46 | |
# The river flows... # | 0:39:47 | 0:39:48 | |
It's a fairly well-known fact that Dennis Hopper was a little amped up | 0:39:48 | 0:39:52 | |
during the filming of Easy Rider | 0:39:52 | 0:39:54 | |
and smashed a guitar over the cameraman's head. | 0:39:54 | 0:39:56 | |
Laszlo Kovacs was brought on board | 0:39:56 | 0:39:58 | |
and that's probably the best thing that could have happened to the film | 0:39:58 | 0:40:02 | |
because his expansive style set the standard for future road movies. | 0:40:02 | 0:40:06 | |
Like Bonnie and Clyde, the heroes of Easy Rider | 0:40:06 | 0:40:09 | |
make sure that they get themselves killed at the end. | 0:40:09 | 0:40:11 | |
Well, I don't think they'll make the parish line. | 0:40:11 | 0:40:14 | |
Hey, look at them goons! | 0:40:14 | 0:40:15 | |
Pull alongside. We'll scare the hell out of them. | 0:40:15 | 0:40:18 | |
This will be the action of choice | 0:40:18 | 0:40:20 | |
for the majority of road films that followed. | 0:40:20 | 0:40:23 | |
It's seminally important, when portraying a rebel, | 0:40:23 | 0:40:26 | |
to make sure you're martyred at the end of the film. | 0:40:26 | 0:40:29 | |
Bonnie And Clyde and Easy Rider | 0:40:29 | 0:40:31 | |
brought road movies to a kind of fork in the road. | 0:40:31 | 0:40:34 | |
Bonnie And Clyde was an outlaw road movie. | 0:40:34 | 0:40:37 | |
Easy Rider was kind of a quest road movie. | 0:40:37 | 0:40:40 | |
From here on in, most road movies had to choose one fork or the other. | 0:40:40 | 0:40:43 | |
That's probably enough with the fork in the road metaphors. | 0:40:43 | 0:40:46 | |
But more importantly, both movies represent a kind of malaise | 0:40:46 | 0:40:50 | |
that was beginning to grip America at the time. | 0:40:50 | 0:40:53 | |
In both movies, the main characters die in the end. You see there? | 0:40:53 | 0:40:56 | |
That's kind of a representation of the dying human spirit, | 0:40:56 | 0:40:59 | |
the rebellious zeitgeist, the hippie ideal. | 0:40:59 | 0:41:02 | |
This is 1969 we're talking about | 0:41:02 | 0:41:04 | |
and 1969 was a year in America | 0:41:04 | 0:41:06 | |
where you could look at a lot of things | 0:41:06 | 0:41:08 | |
and clearly delineate that they were turning to shit. | 0:41:08 | 0:41:12 | |
MUSIC: "Ohio" by Neil Young | 0:41:12 | 0:41:16 | |
By 1970, the '60s zeitgeist that had spurned hippy culture | 0:41:17 | 0:41:22 | |
seemed to be on the wane. | 0:41:22 | 0:41:23 | |
Events at Altamont shocked many Americans, | 0:41:23 | 0:41:26 | |
as did the Sharon Tate murders committed by Chucky Manson | 0:41:26 | 0:41:29 | |
and his family of followers. | 0:41:29 | 0:41:30 | |
For many Americans, the '70s became a decade of transition | 0:41:30 | 0:41:34 | |
marked by confusion. | 0:41:34 | 0:41:36 | |
The Vietnam war and Watergate | 0:41:36 | 0:41:37 | |
damaged America's faith in their government and their leaders. | 0:41:37 | 0:41:41 | |
There were anti-war demonstrations and marches, | 0:41:41 | 0:41:43 | |
which saw students massacred at Kent State University. | 0:41:43 | 0:41:46 | |
The feeling was that America had lost its direction | 0:41:46 | 0:41:49 | |
and the American dream was becoming a nightmare. | 0:41:49 | 0:41:52 | |
America seemed befogged. Is that a word? | 0:41:54 | 0:41:56 | |
You know, pulled in too many different directions. | 0:41:56 | 0:42:00 | |
The low-budget indie films of the time | 0:42:00 | 0:42:02 | |
worked as an antidote to President Nixon's conformist silent majority. | 0:42:02 | 0:42:06 | |
They were cynical films. | 0:42:06 | 0:42:08 | |
Vanishing Point and Two-Lane Blacktop | 0:42:08 | 0:42:11 | |
were two films that kind of marry | 0:42:11 | 0:42:14 | |
man and vehicle into a single character. | 0:42:14 | 0:42:16 | |
And although the films are about movement, | 0:42:16 | 0:42:19 | |
the movement is just for the sake of movement. | 0:42:19 | 0:42:23 | |
You know...drift. | 0:42:23 | 0:42:25 | |
What are you trying to do? Blow my mind? | 0:42:28 | 0:42:30 | |
Two-Lane Blacktop is a movie | 0:42:30 | 0:42:32 | |
that seems to embrace the hippy mindset of the late '60s | 0:42:32 | 0:42:35 | |
and refute it at the same time. | 0:42:35 | 0:42:37 | |
Directed by Monte Hellman, | 0:42:37 | 0:42:39 | |
it's basically a race between a souped-up, rebuilt 55 Chevy | 0:42:39 | 0:42:43 | |
and a brand-new factory-fresh Pontiac GTO. | 0:42:43 | 0:42:47 | |
Or, more specifically, about the guys who drive them. | 0:42:47 | 0:42:51 | |
Thus it's possible to read into this some kind of showdown | 0:42:51 | 0:42:54 | |
between individual versus automation. | 0:42:54 | 0:42:56 | |
-Sure we'll race? You're damn right we'll race. -For pinks? | 0:42:58 | 0:43:02 | |
Pink slips? You mean for cars? | 0:43:03 | 0:43:06 | |
-Where to? -You name it. | 0:43:06 | 0:43:09 | |
Washington DC. | 0:43:09 | 0:43:10 | |
Two-Lane Blacktop is full of revving motors and grinding gears, | 0:43:10 | 0:43:14 | |
as if that's more important than anything the characters have to say. | 0:43:14 | 0:43:18 | |
In fact, the characters are frustratingly inarticulate. | 0:43:18 | 0:43:22 | |
There's these long, quasi-European lapses of silence. | 0:43:22 | 0:43:26 | |
We keep wanting these characters to explain their backgrounds, | 0:43:26 | 0:43:30 | |
what they want, even tell us their names, | 0:43:30 | 0:43:33 | |
but a car isn't a psychiatrist's couch. | 0:43:33 | 0:43:37 | |
Besides, it's realistic | 0:43:37 | 0:43:38 | |
because if someone did rattle on incessantly | 0:43:38 | 0:43:41 | |
for more than a couple of hours on a road trip, | 0:43:41 | 0:43:43 | |
you'd throw them out the door and into a ditch. | 0:43:43 | 0:43:45 | |
So we get James Taylor in the lead role. | 0:43:45 | 0:43:48 | |
That's right, James Taylor - | 0:43:48 | 0:43:50 | |
the guy who's witnessed both fire and rain | 0:43:50 | 0:43:52 | |
and felt the need to sing about it. | 0:43:52 | 0:43:54 | |
James Taylor. Remember, if you need a friend, | 0:43:54 | 0:43:58 | |
you've got a friend with James Taylor. | 0:43:58 | 0:44:00 | |
And the sky is dark and full of clouds | 0:44:00 | 0:44:02 | |
and that old north wind begins to blow, yeah, call James Taylor. | 0:44:02 | 0:44:05 | |
He's standing by the phone, you big pussy. It's weather - deal with it. | 0:44:05 | 0:44:09 | |
Anyway, you get James Taylor giving us a masterclass | 0:44:09 | 0:44:13 | |
in how not to act at all. | 0:44:13 | 0:44:15 | |
-Well, don't get any splinters. -You bore me. | 0:44:23 | 0:44:26 | |
Monte Hellman is interested in projecting aimlessness and drift, | 0:44:30 | 0:44:35 | |
and the emptiness of the hippy ethic. | 0:44:35 | 0:44:37 | |
After all, this was a time when a hippy chick, | 0:44:37 | 0:44:40 | |
apropos of any introduction whatsoever, would just park herself | 0:44:40 | 0:44:44 | |
in the back seat of any vehicle that would move her along. | 0:44:44 | 0:44:47 | |
You know what? That never happened. | 0:44:49 | 0:44:52 | |
Not even at the pinpoint apex of the age of free love, | 0:44:52 | 0:44:57 | |
"Hey, hey, you, you, get off of my cloud", age of Aquarius, | 0:44:57 | 0:45:01 | |
"If you're going to San Francisco wear some flowers in your hair", | 0:45:01 | 0:45:04 | |
"New York State Freeway is closed", free love, acid movement pinpoint | 0:45:04 | 0:45:08 | |
did a hippy chick, with all her belongings, | 0:45:08 | 0:45:11 | |
climb into the back seat of a car and just wait to see who owned it | 0:45:11 | 0:45:14 | |
and what would happen next. | 0:45:14 | 0:45:16 | |
This is Hollywood's myopic version of the hippy movement. | 0:45:16 | 0:45:20 | |
Ultimately Two-Lane Blacktop is about characters who can't relate to each other. | 0:45:24 | 0:45:28 | |
It's a pretty accurate reading of America at the time. | 0:45:28 | 0:45:31 | |
Lots of self-expression but no-one listening. | 0:45:31 | 0:45:35 | |
Fortunately the '80s were just over the horizon. | 0:45:37 | 0:45:41 | |
No more of that sappy music. | 0:45:41 | 0:45:44 | |
Music rocked in the '80s. | 0:45:44 | 0:45:46 | |
Kick-ass music. | 0:45:47 | 0:45:49 | |
MUSIC: "Kung Fu Fighting" by Carl Douglas | 0:45:52 | 0:45:59 | |
# Everybody was kung-fu fighting | 0:46:04 | 0:46:08 | |
# Those kicks were fast as lightning | 0:46:08 | 0:46:12 | |
# In fact it was little bit frightening... # | 0:46:12 | 0:46:15 | |
Many of the early '70s road movies focused on speed, | 0:46:15 | 0:46:18 | |
and the perfect car to use was the muscle car. | 0:46:18 | 0:46:21 | |
ANNOUNCER: Mustang, the original. | 0:46:21 | 0:46:23 | |
America's favourite sports car, with three new models. | 0:46:23 | 0:46:27 | |
A muscle car is exactly what the name implies. | 0:46:27 | 0:46:31 | |
It's a small car with a big engine. | 0:46:31 | 0:46:33 | |
It's designed for straight-away highway speeds, | 0:46:33 | 0:46:36 | |
blowing the doors off of other cars | 0:46:36 | 0:46:38 | |
and inviting their drivers to dine on your dust. | 0:46:38 | 0:46:42 | |
ANNOUNCER: Take the Mustang pledge. No telling where it will lead. | 0:46:42 | 0:46:46 | |
You're ahead in a Ford, all the way. | 0:46:46 | 0:46:49 | |
# I'm going to get up in the morning | 0:46:56 | 0:47:00 | |
# I'm going to hit Highway 49 | 0:47:00 | 0:47:04 | |
# I'm going to get up in the morning | 0:47:04 | 0:47:07 | |
# I'm going to hit Highway 49... # | 0:47:07 | 0:47:10 | |
This is a 1967 Oldsmobile Cutlass. | 0:47:10 | 0:47:13 | |
380 longblock. | 0:47:13 | 0:47:15 | |
It's called a muscle car. | 0:47:15 | 0:47:18 | |
Now, Jeremy Clarkson, | 0:47:18 | 0:47:20 | |
your ill-informed and over-hyped God of all things automotive and British, | 0:47:20 | 0:47:24 | |
will tell you that muscle cars are gutless, | 0:47:24 | 0:47:27 | |
that they can't handle the curves, | 0:47:27 | 0:47:30 | |
that they have no finesse and no style. | 0:47:30 | 0:47:33 | |
He'll tell you that a GTO or a Cutlass can't compare | 0:47:33 | 0:47:36 | |
to a Ferrari or a Lamborghini. | 0:47:36 | 0:47:38 | |
What he doesn't bother to tell you is that muscle cars were made | 0:47:38 | 0:47:41 | |
for young working American men who put in a bit of overtime | 0:47:41 | 0:47:46 | |
so they could have one decent thing in their life. | 0:47:46 | 0:47:49 | |
A Ferrari is for a guy with too much money, a mid-life crisis | 0:47:49 | 0:47:53 | |
and a comb-over. | 0:47:53 | 0:47:56 | |
Comparing a muscle car to a Ferrari | 0:47:56 | 0:47:58 | |
is like comparing Jeremy Clarkson to a real television host. | 0:47:58 | 0:48:02 | |
If this car was a woman it'd be Elizabeth Taylor. | 0:48:02 | 0:48:06 | |
If Jeremy Clarkson were a woman, | 0:48:06 | 0:48:09 | |
I wouldn't be a God-damn bit surprised. | 0:48:09 | 0:48:12 | |
ROAR OF MOTOR ENGINES | 0:48:12 | 0:48:13 | |
'Name - Kowalski. | 0:48:13 | 0:48:15 | |
'Occupation - driver, transporting a super-charged Dodge Challenger | 0:48:15 | 0:48:20 | |
'from Denver to San Francisco. | 0:48:20 | 0:48:22 | |
'Background - Medal of Honour in Vietnam. | 0:48:22 | 0:48:25 | |
'Former stock and fight racer. | 0:48:25 | 0:48:27 | |
'Former cop, dishonourably discharged. | 0:48:27 | 0:48:30 | |
'Now he uses speed to get himself up, to get himself gone.' | 0:48:30 | 0:48:35 | |
Vanishing Point is about a car-delivery driver | 0:48:40 | 0:48:43 | |
known only as Kowalski who bets his Benzedrine dealer | 0:48:43 | 0:48:46 | |
he can drive from Denver to San Francisco in 15 hours. | 0:48:46 | 0:48:50 | |
The trip serves as an exploration of terrain and psyche. | 0:48:50 | 0:48:54 | |
Despite his occasional lapses of tolerance, | 0:48:54 | 0:48:57 | |
Kowalski's a kind of counterculture hold-out, trying to outrun the police. | 0:48:57 | 0:49:01 | |
Maybe killed somebody. | 0:49:01 | 0:49:03 | |
Maybe stole that big dude of his. Maybe both. | 0:49:03 | 0:49:07 | |
He's abetted by a mystical small-town DJ named Supersoul | 0:49:07 | 0:49:11 | |
who turns the ensuing police chase into a folk hero drama. | 0:49:11 | 0:49:14 | |
'There goes the Challenger, | 0:49:14 | 0:49:17 | |
'being chased by the blue, blue meanies on wheels. | 0:49:17 | 0:49:20 | |
'The vicious swag cars are after ours own driver. | 0:49:20 | 0:49:24 | |
'The super driver of the Golden West! | 0:49:24 | 0:49:27 | |
'The police numbers are getting closer, closer, | 0:49:28 | 0:49:31 | |
'closer to our soul hero. | 0:49:31 | 0:49:33 | |
'It is so real. They're going to kill him, smash him, | 0:49:33 | 0:49:36 | |
'rip the last American hero.' | 0:49:36 | 0:49:39 | |
Vanishing Point is a vision of post-hippy anxiety. | 0:49:39 | 0:49:43 | |
It was made in 1972. | 0:49:43 | 0:49:45 | |
That's five years after the Summer of Love. | 0:49:45 | 0:49:47 | |
Ronald Reagan had been installed as the Governor of California. | 0:49:47 | 0:49:51 | |
There were DEA planes circling the skies, | 0:49:51 | 0:49:54 | |
looking for the kind of drug dealers the heroes of Easy Rider portrayed. | 0:49:54 | 0:49:59 | |
Vanishing Point puts to rest the idea that racial tension, | 0:49:59 | 0:50:04 | |
class struggles and ideological conflicts can be solved | 0:50:04 | 0:50:07 | |
with simple, hippy wishful thinking. | 0:50:07 | 0:50:10 | |
'Everybody's after Kowalski...' | 0:50:12 | 0:50:14 | |
-Because they think we're queers. -'..for one reason or another.' | 0:50:14 | 0:50:18 | |
Is there something I can do for you? | 0:50:18 | 0:50:19 | |
-Like what? -Like anything you want. | 0:50:19 | 0:50:23 | |
'Everybody wants a piece of his hide.' | 0:50:23 | 0:50:26 | |
# I got to getcha | 0:50:26 | 0:50:29 | |
# I got to getcha... # | 0:50:29 | 0:50:31 | |
The early '70s brought a flood of road movies, | 0:50:31 | 0:50:34 | |
most of them bearing the uneasy mark of recalcitrance. | 0:50:34 | 0:50:37 | |
They weren't about character development, | 0:50:37 | 0:50:39 | |
they were about the journey itself. Motion, not emotion. | 0:50:39 | 0:50:43 | |
Vanishing Point, Two-Lane Blacktop, Easy Rider. | 0:50:43 | 0:50:47 | |
These were films that young people embraced. | 0:50:47 | 0:50:49 | |
They were screened repeatedly at university campuses and drive-in movies. | 0:50:49 | 0:50:54 | |
They had a certain diffidence about them. | 0:50:54 | 0:50:56 | |
The Spy Who Came In From The Cold doesn't really work | 0:50:56 | 0:50:59 | |
after ingesting a big chunk of Lebanese hash, | 0:50:59 | 0:51:02 | |
but Vanishing Point does. | 0:51:02 | 0:51:04 | |
You could get high at a Midnight Madness movie-screening with your buddies, | 0:51:04 | 0:51:07 | |
and watch Easy Rider the way a dog watches an executive desk toy. | 0:51:07 | 0:51:12 | |
They reflected Hollywood's understanding of the counterculture. | 0:51:12 | 0:51:17 | |
But in truth, they were somewhat conservative | 0:51:17 | 0:51:21 | |
and even...regressive. | 0:51:21 | 0:51:24 | |
Now, the 70's wasn't all about drug-fuelled road journeys and V8 engine muscle cars. | 0:51:39 | 0:51:45 | |
We also started to see road movies with intelligent narrative | 0:51:45 | 0:51:48 | |
and powerful performances. | 0:51:48 | 0:51:51 | |
Long before Bono started bleating incessantly | 0:51:53 | 0:51:56 | |
about not being able to find what he was looking for, | 0:51:56 | 0:51:59 | |
Jack Nicholson portrayed a character with a similar plight. | 0:51:59 | 0:52:03 | |
The character's name was Bobby Dupea, | 0:52:03 | 0:52:05 | |
the film was called Five Easy Pieces. | 0:52:05 | 0:52:08 | |
# Stand by your man... # | 0:52:09 | 0:52:11 | |
ANNOUNCER: The triple-award winner is back. | 0:52:11 | 0:52:14 | |
Five Easy Pieces, | 0:52:14 | 0:52:16 | |
Best Picture of the Year. | 0:52:16 | 0:52:18 | |
Five Easy Pieces invokes images of dehumanisation by machinery | 0:52:18 | 0:52:22 | |
in its very opening scene. | 0:52:22 | 0:52:24 | |
Bobby works on an oil rig, | 0:52:24 | 0:52:27 | |
and much like the bulldozers in The Grapes Of Wrath that destroys the Joads' home, | 0:52:27 | 0:52:31 | |
the oil rigs may represent progress but they are actually destroying the human spirit. | 0:52:31 | 0:52:36 | |
Keep tellin' me about the good life, Elton, cos it makes me puke. | 0:52:36 | 0:52:39 | |
Bobby leads a nowhere life. | 0:52:39 | 0:52:42 | |
He isn't a hippy. He's actually from a family of classically-trained musicians whom he's rejected. | 0:52:42 | 0:52:47 | |
They wanted to hire a detective and I talked them out of it | 0:52:47 | 0:52:50 | |
cos I felt whatever you were doing, you had a perfect right to do, | 0:52:50 | 0:52:54 | |
no matter how nonsensical your ventures might be. | 0:52:54 | 0:52:56 | |
Now he's hanging out with a trailer-park girlfriend named Rayette, | 0:52:56 | 0:53:00 | |
played by Karen Black, a fantastic actress from an era | 0:53:00 | 0:53:03 | |
when actresses were cast because they were striking and interesting. | 0:53:03 | 0:53:07 | |
I'll do anything that you like for me to do | 0:53:07 | 0:53:10 | |
if you would tell me that you love me. | 0:53:10 | 0:53:13 | |
Bobby's life consists primarily of bowling, drinking | 0:53:13 | 0:53:16 | |
and screwing around on his shrill girlfriend. | 0:53:16 | 0:53:19 | |
He's like an automobile trapped in traffic. | 0:53:19 | 0:53:21 | |
Inside is a man desperate to escape, | 0:53:21 | 0:53:24 | |
who doesn't know how to channel his frustration. | 0:53:24 | 0:53:26 | |
When he finds out his father is gravely ill | 0:53:28 | 0:53:30 | |
he has to return to Washington State. | 0:53:30 | 0:53:33 | |
He's just found out Rayette is pregnant. | 0:53:33 | 0:53:35 | |
This seems like a golden opportunity to dump her. | 0:53:35 | 0:53:38 | |
But he feels too guilty about it, | 0:53:38 | 0:53:40 | |
and again, we see the automobile serving as a physical manifestation | 0:53:40 | 0:53:44 | |
of the emotional cage that he's trapped in. | 0:53:44 | 0:53:47 | |
HE SHOUTS IN FRUSTRATION | 0:53:47 | 0:53:52 | |
I move around a lot. | 0:53:54 | 0:53:56 | |
Not because I'm looking for anything really but... | 0:53:58 | 0:54:02 | |
..cos I'm getting away from things that get bad...if I stay. | 0:54:03 | 0:54:10 | |
Five Easy Pieces spends a lot of time stacking the tension | 0:54:10 | 0:54:14 | |
that will convince Bobby to split. | 0:54:14 | 0:54:16 | |
The road journey takes place about halfway through the film. | 0:54:16 | 0:54:19 | |
It only lasts for about ten minutes | 0:54:19 | 0:54:21 | |
but it contains one of the most memorable scenes in modern cinema. | 0:54:21 | 0:54:24 | |
A Number Two, chicken salad san. | 0:54:24 | 0:54:26 | |
Hold the butter, the lettuce and the mayonnaise. | 0:54:26 | 0:54:29 | |
And a cup of coffee. Anything else? | 0:54:29 | 0:54:32 | |
Yeah, now all you have to do is hold the chicken, bring me the toast, | 0:54:32 | 0:54:36 | |
give me a cheque for the chicken salad sandwich, and you haven't broken any rules. | 0:54:36 | 0:54:40 | |
You want me to hold the chicken, huh? | 0:54:40 | 0:54:42 | |
I want you to hold it between your knees. | 0:54:42 | 0:54:45 | |
THEY LAUGH | 0:54:45 | 0:54:47 | |
You see that sign, sir? | 0:54:47 | 0:54:49 | |
Yes, y'all have to leave. I'm not taking any more of your smartness and sarcasm. | 0:54:49 | 0:54:54 | |
You see this sign? | 0:54:54 | 0:54:56 | |
In 1970, most Americans weren't up for robbing banks | 0:54:58 | 0:55:01 | |
or riding Harleys across America to express their rebellion. | 0:55:01 | 0:55:04 | |
But that gesture is something they could identify with, | 0:55:04 | 0:55:07 | |
even articulate if they wanted to. | 0:55:07 | 0:55:09 | |
It paved the way for the cool sarcasm of so many '70s films that followed, | 0:55:09 | 0:55:14 | |
the satire of disillusionment. In fact, it did more than that. | 0:55:14 | 0:55:17 | |
That diner scene marks the point | 0:55:17 | 0:55:20 | |
where the revolutionary ideals of the '60s figuratively die, | 0:55:20 | 0:55:23 | |
cos from here on in, there won't be any more rebels, | 0:55:23 | 0:55:26 | |
just dissatisfied customers. | 0:55:26 | 0:55:29 | |
At the end of Five Easy Pieces, | 0:55:32 | 0:55:34 | |
Bobby Dupea pulls into a gas station with Rayette. | 0:55:34 | 0:55:37 | |
He has a moment of reflection and decides to change his life forever. | 0:55:37 | 0:55:41 | |
He goes back outside and takes a ride with a passing truck driver. | 0:55:41 | 0:55:45 | |
He leaves Rayette at the service station and his whole past behind him. | 0:55:45 | 0:55:50 | |
Psychologically, emotionally and physically, | 0:55:50 | 0:55:53 | |
he drops off the planet. | 0:55:53 | 0:55:55 | |
Now, whether this represents a death or a rebirth | 0:55:56 | 0:56:00 | |
is open to interpretation. | 0:56:00 | 0:56:02 | |
Interestingly, this is not the original ending to the film. | 0:56:02 | 0:56:06 | |
It's an ending suggested by Jack Nicholson. | 0:56:06 | 0:56:08 | |
The original ending to Five Easy Pieces | 0:56:08 | 0:56:11 | |
had Bobby and Rayette driving their car off a cliff | 0:56:11 | 0:56:15 | |
and freezing the scene in mid-air. | 0:56:15 | 0:56:18 | |
We'd have to wait another 21 years for THAT to crop up. | 0:56:18 | 0:56:21 | |
Badlands is what Bonnie And Clyde would have been | 0:56:39 | 0:56:42 | |
if it'd been made strictly for adults. | 0:56:42 | 0:56:44 | |
It was Terence Malik's first film. | 0:56:44 | 0:56:46 | |
'He was 25 years-old. He combed his hair like James Dean. | 0:56:46 | 0:56:51 | |
'He was very fastidious. | 0:56:51 | 0:56:53 | |
'People who littered bothered him. | 0:56:53 | 0:56:55 | |
'She was 15. She took music lessons and could twirl a baton.' | 0:56:57 | 0:57:01 | |
I'm Kit. I'm not keeping you from anything important, am I? | 0:57:01 | 0:57:05 | |
No. | 0:57:05 | 0:57:06 | |
'She wasn't very popular at school...' | 0:57:06 | 0:57:08 | |
Sissy Spacek plays a small-town girl where boredom prevails over good judgment. | 0:57:08 | 0:57:12 | |
She's distracted by a good-looking psychopath | 0:57:12 | 0:57:15 | |
the way some people were distracted by a shiny car. | 0:57:15 | 0:57:17 | |
I don't want to see you again. Understand? | 0:57:17 | 0:57:21 | |
'They ain't sure not dead, then I'd have been running around behind his back. | 0:57:21 | 0:57:24 | |
'He was madder than I'd ever seen him.' | 0:57:24 | 0:57:27 | |
The film's underpinning of violence is astoundingly ambiguous. | 0:57:27 | 0:57:31 | |
Malik is the kind of director who cuts to a hummingbird when someone is being shot in the eyeball. | 0:57:31 | 0:57:36 | |
Throughout the film Holly narrates | 0:57:36 | 0:57:39 | |
in a very matter-of-fact, dispassionate way, | 0:57:39 | 0:57:42 | |
as if she were reading a What I Did Last Summer essay to classmates. | 0:57:42 | 0:57:46 | |
'He made me take extra music lessons every day after school | 0:57:46 | 0:57:49 | |
'and wait there till he came to pick me up. | 0:57:49 | 0:57:51 | |
'He said if the piano didn't keep me off the streets, | 0:57:51 | 0:57:54 | |
'maybe the clarinet would.' | 0:57:54 | 0:57:56 | |
It's this nonchalance that makes the brutality on screen | 0:57:56 | 0:57:59 | |
seem like some kind of emotional practical joke. | 0:57:59 | 0:58:02 | |
My girl Holly and I decided to kill ourselves. | 0:58:03 | 0:58:05 | |
The same way I did her dad. | 0:58:05 | 0:58:08 | |
'Nobody's coming out of this thing happy. Especially not us. | 0:58:10 | 0:58:15 | |
'I can't deny we've had fun, though.' | 0:58:15 | 0:58:18 | |
Much the same as Bonnie and Clyde, | 0:58:18 | 0:58:20 | |
the cult hero status that Kit and Holly acquire | 0:58:20 | 0:58:23 | |
as they race through the Badlands trying to evade capture, | 0:58:23 | 0:58:26 | |
also dooms them. | 0:58:26 | 0:58:28 | |
The more famous they become, | 0:58:28 | 0:58:30 | |
the less chance of escape. | 0:58:30 | 0:58:33 | |
Hey. | 0:58:33 | 0:58:34 | |
GUNSHOTS | 0:58:34 | 0:58:39 | |
Admittedly, it's pretty hard to watch | 0:58:39 | 0:58:41 | |
Easy Rider or Vanishing Point nowadays | 0:58:41 | 0:58:44 | |
and understand what all the fuss was about. | 0:58:44 | 0:58:47 | |
Those communications and rhythms are gone. | 0:58:47 | 0:58:49 | |
Those films look brittle, like artefacts. | 0:58:49 | 0:58:52 | |
But Badlands holds up because it's beautifully photographed, | 0:58:52 | 0:58:56 | |
it's amazingly well acted, | 0:58:56 | 0:58:59 | |
and it's about the banality of evil. | 0:58:59 | 0:59:01 | |
And the world is a lot more evil today than it was in 1973. | 0:59:01 | 0:59:05 | |
It's an ironic comment on how the media anoints celebrity status | 0:59:05 | 0:59:10 | |
to just about anybody who asks for it. | 0:59:10 | 0:59:12 | |
And in the end, the Hollywood mindset, | 0:59:12 | 0:59:15 | |
the conservative ethic, wins again. | 0:59:15 | 0:59:19 | |
Listen to your parents and teachers. | 0:59:19 | 0:59:21 | |
They got a line on most things - they ain't enemies. | 0:59:21 | 0:59:24 | |
There's always a chance you can learn something. | 0:59:24 | 0:59:26 | |
Try to keep an open mind. | 0:59:29 | 0:59:31 | |
Try to understand the viewpoints of others. | 0:59:31 | 0:59:34 | |
Think I got 'em? | 0:59:38 | 0:59:39 | |
-I don't know. -Well, I'm not going down there to look! | 0:59:39 | 0:59:42 | |
Like Hopper and Fonda, Terence Malik had no idea what he was doing | 0:59:45 | 0:59:49 | |
when he made Badlands. | 0:59:49 | 0:59:50 | |
The entire film crew quit on him, | 0:59:50 | 0:59:52 | |
the cameras burned up during a house fire scene. | 0:59:52 | 0:59:54 | |
He had to put up his own money to finish the film. Nobody even wanted to see it! | 0:59:54 | 0:59:58 | |
But today it's considered a masterpiece. | 0:59:58 | 1:00:01 | |
It's a final comment on that time in America between 1966 and 1973 | 1:00:01 | 1:00:06 | |
when almost anything seemed possible. | 1:00:06 | 1:00:08 | |
But, on the other hand, as far as filmmaking goes, | 1:00:08 | 1:00:11 | |
it made it seem as if anything was possible. | 1:00:11 | 1:00:14 | |
# In this town television shuts off at two | 1:00:30 | 1:00:34 | |
# What can a lonely rock'n'roller do? | 1:00:36 | 1:00:38 | |
# The bed's so big the sheets are clean | 1:00:42 | 1:00:44 | |
# Your girlfriend said you were 19... # | 1:00:44 | 1:00:47 | |
The highway changed the landscape for ever, | 1:00:47 | 1:00:49 | |
and it also created a vacuum to be filled by anti-social behaviour. | 1:00:49 | 1:00:54 | |
# Come into my motel room | 1:00:54 | 1:00:57 | |
# Treat me nice... # | 1:00:57 | 1:00:59 | |
The car is the facilitator of courtships and criminal getaways, | 1:01:01 | 1:01:04 | |
but the motel is where these situations are resolved. | 1:01:04 | 1:01:07 | |
In real life, motels are for sleeping | 1:01:07 | 1:01:10 | |
but in films, they're for unsavoury assignations, drug deals, | 1:01:10 | 1:01:14 | |
crime planning, dividing up the spoils, | 1:01:14 | 1:01:16 | |
and, of course, illicit sex. | 1:01:16 | 1:01:19 | |
In the old days, motels were called "hot pillows". | 1:01:19 | 1:01:22 | |
The old crow downstairs said there's a fold-out bed behind this door. | 1:01:22 | 1:01:26 | |
Do you know how to work it? | 1:01:31 | 1:01:33 | |
I invented it. | 1:01:36 | 1:01:38 | |
There's something inherently disturbing about motel rooms. | 1:01:44 | 1:01:48 | |
Maybe it's the suggestive history of all the people who've stayed here before us. | 1:01:48 | 1:01:52 | |
You know, a house is about stability. | 1:01:52 | 1:01:54 | |
But a motel room is just associative - it's full of angst - | 1:01:54 | 1:01:57 | |
what are you going to do, watch TV? Drink some bad coffee? | 1:01:57 | 1:02:01 | |
Pick up the complimentary pen and write a letter to Jodie Foster? | 1:02:01 | 1:02:05 | |
Plus, they try to charge you money to make you feel at home! | 1:02:05 | 1:02:09 | |
Consequently, there's in an innate desire to trash a hotel room. | 1:02:09 | 1:02:13 | |
I'm done here, thanks. | 1:02:16 | 1:02:17 | |
# Trailers for sale or rent | 1:02:28 | 1:02:31 | |
# Rooms to let, 50 cents... # | 1:02:31 | 1:02:36 | |
The need for cheap roadside accommodation | 1:02:36 | 1:02:39 | |
grew out of the advancement of the highway network. | 1:02:39 | 1:02:42 | |
By the 1950s, there were over 100,000 motel rooms | 1:02:42 | 1:02:45 | |
along US highways. | 1:02:45 | 1:02:47 | |
People started leaving the cities, and the further they got out, | 1:02:47 | 1:02:51 | |
the more amenities they needed - the more places they needed to stay, | 1:02:51 | 1:02:55 | |
and those people, the farmers along these roads that became popular, | 1:02:55 | 1:02:59 | |
started saying, "We could make money on this - we can rent out cabins, | 1:02:59 | 1:03:03 | |
"we can build cabins, we can rent out our rooms", | 1:03:03 | 1:03:05 | |
and those became the very first motels. | 1:03:05 | 1:03:09 | |
Motels as opposed to hotels, because that was a motor lodge, | 1:03:09 | 1:03:12 | |
or a motor hotel. | 1:03:12 | 1:03:13 | |
As the highways became more sophisticated, | 1:03:13 | 1:03:16 | |
so did the hotels and the establishments. | 1:03:16 | 1:03:18 | |
They grew with the highway system. | 1:03:18 | 1:03:20 | |
# I'm a man of means by no means | 1:03:20 | 1:03:25 | |
# King of the road. # | 1:03:25 | 1:03:27 | |
Early motels were a mixture of kitsch and convenience. | 1:03:27 | 1:03:32 | |
They did whatever they could to attract travellers, | 1:03:32 | 1:03:34 | |
to rise above the mundane, I mean, look at this - | 1:03:34 | 1:03:37 | |
these curtains are genuine towel. | 1:03:37 | 1:03:40 | |
They were mom and pop establishments | 1:03:40 | 1:03:42 | |
requiring low overhead, but long, long hours | 1:03:42 | 1:03:45 | |
because it's very, very hard work keeping things leisurely. | 1:03:45 | 1:03:49 | |
They're an architectural sub-genre, | 1:03:49 | 1:03:51 | |
uniquely American, and infinitely unique, | 1:03:51 | 1:03:55 | |
but I'll tell you this - every scene you've ever seen in a film | 1:03:55 | 1:03:58 | |
where someone tries to crawl out of the bathroom window, doesn't happen. | 1:03:58 | 1:04:02 | |
Watch this. | 1:04:02 | 1:04:03 | |
Right, let's get out of here. | 1:04:11 | 1:04:13 | |
A pudgy man from Memphis, Tennessee, named Kemmons Wilson | 1:04:15 | 1:04:19 | |
killed the mom and pop motel when he developed the idea | 1:04:19 | 1:04:22 | |
of a cookie cutter multi-storey chain | 1:04:22 | 1:04:24 | |
that promised a consistent quality of service and amenities. | 1:04:24 | 1:04:28 | |
Kemmons' aim was to create a sanitized, family-friendly, | 1:04:28 | 1:04:31 | |
no surprises atmosphere. | 1:04:31 | 1:04:33 | |
In other words, he wanted you to believe | 1:04:33 | 1:04:35 | |
you were paying for a motel room no-one had ever fucked in. | 1:04:35 | 1:04:38 | |
Most filmmakers would never consider that kind of a location. | 1:04:38 | 1:04:42 | |
In a film, the motel room is going to be squalid, | 1:04:42 | 1:04:45 | |
with paper-thin walls, | 1:04:45 | 1:04:47 | |
a flickering TV, cigarette burns everywhere. | 1:04:47 | 1:04:50 | |
It's an important piece of casting. | 1:04:50 | 1:04:52 | |
No-one would have given a shit about Psycho | 1:04:52 | 1:04:54 | |
if it was filmed on the 23rd floor of a Marriott. | 1:04:54 | 1:04:57 | |
The motel room is a bad, bad place. | 1:04:57 | 1:05:00 | |
You left home, Dorothy, now you're going to pay for it. | 1:05:01 | 1:05:05 | |
Are you going to leave for fucking ever? | 1:05:06 | 1:05:08 | |
What, did you fucking kill somebody? | 1:05:09 | 1:05:11 | |
You start this shit, I'm outta here. | 1:05:11 | 1:05:14 | |
I'm sorry. | 1:05:17 | 1:05:19 | |
# I'm so weary and all alone | 1:05:27 | 1:05:30 | |
# Feet are tired like heavy stone | 1:05:30 | 1:05:33 | |
# Travelling, travelling | 1:05:33 | 1:05:36 | |
# All alone. # | 1:05:36 | 1:05:39 | |
Diners as well are important to Road Films - | 1:05:43 | 1:05:45 | |
they generally serve to contrast the alienation of the main character | 1:05:45 | 1:05:50 | |
with the grounded stability of the locals. | 1:05:50 | 1:05:52 | |
Usually a disruption of some kind occurs. | 1:05:52 | 1:05:55 | |
In 1975, Martin Scorsese made a film in which the main character, | 1:05:55 | 1:05:58 | |
instead of disrupting the surroundings, is absorbed by it. | 1:05:58 | 1:06:02 | |
Alice Doesn't Live Here Anymore is generally lauded | 1:06:02 | 1:06:05 | |
as some sort of a feminist epic, | 1:06:05 | 1:06:07 | |
assuming an epic can be made by a director whose primary concern | 1:06:07 | 1:06:10 | |
is Italian Americans shooting other Italian Americans in the head. | 1:06:10 | 1:06:14 | |
But, between Mean Streets and Taxi Driver, | 1:06:14 | 1:06:17 | |
Martin Scorsese took some sort of a testosterone nap, | 1:06:17 | 1:06:20 | |
and directed a softie that won | 1:06:20 | 1:06:22 | |
Ellen Burstyn an Academy Award for Best Actress, | 1:06:22 | 1:06:25 | |
and Diane Ladd a nomination for Best Supporting Actress. | 1:06:25 | 1:06:28 | |
The film begins in a Wizard Of Oz setting | 1:06:31 | 1:06:33 | |
with Alice as a little girl dreaming of a future as a singer. | 1:06:33 | 1:06:37 | |
Then we see her grown up, | 1:06:38 | 1:06:41 | |
living in a tract house in New Mexico, | 1:06:41 | 1:06:44 | |
widowed with an 11-year-old son, | 1:06:44 | 1:06:46 | |
and a losing streak in picking suitable admirers. | 1:06:46 | 1:06:47 | |
When her husband suddenly dies in a truck crash, | 1:06:50 | 1:06:53 | |
she grabs her son, in the role originally created by Toto, | 1:06:53 | 1:06:56 | |
and heads to Monterey, California to pick up her dream of being a singer. | 1:06:56 | 1:07:00 | |
Alice doesn't live any of those places any more, | 1:07:04 | 1:07:06 | |
because when they start closing in... | 1:07:06 | 1:07:08 | |
..Alice hits the highway. | 1:07:10 | 1:07:12 | |
We ain't hiring no waitresses. | 1:07:12 | 1:07:14 | |
I'm not a waitress, I'm a singer. | 1:07:14 | 1:07:16 | |
He won't want no singer. | 1:07:16 | 1:07:18 | |
Alice's road isn't paved with yellow bricks. | 1:07:20 | 1:07:22 | |
It's paved with dingy motels and diners. | 1:07:22 | 1:07:24 | |
Her good witch appears in the form of Flo, a waitress at Mel's Diner. | 1:07:24 | 1:07:30 | |
Flo is played by Diane Ladd. | 1:07:30 | 1:07:32 | |
Hey, everybody! Listen! | 1:07:32 | 1:07:34 | |
We got us here a new girl. | 1:07:34 | 1:07:37 | |
Her name is Alice. | 1:07:37 | 1:07:38 | |
And today is her first day on the job. | 1:07:38 | 1:07:41 | |
And Mel here says she was a singer. How about them apples? | 1:07:41 | 1:07:47 | |
Flo and Alice become best friends. They work together. | 1:07:47 | 1:07:49 | |
They weep together. They share sexual fantasies. | 1:07:49 | 1:07:52 | |
Flo spouts lots of potty-mouthed aphorisms | 1:07:52 | 1:07:55 | |
that are supposed to pass for struggling class wisdom. | 1:07:55 | 1:07:58 | |
Every time they drop a plate of food or screw up someone's order, | 1:07:58 | 1:08:01 | |
they sob uncontrollably, then laugh hysterically. | 1:08:01 | 1:08:03 | |
They run the gamut of emotions learnt at the Actors' Studio | 1:08:03 | 1:08:06 | |
because this is, after all, a Scorsese film. | 1:08:06 | 1:08:09 | |
Then Alice meets stoney-faced rancher Quarts Quartstofferson | 1:08:09 | 1:08:13 | |
from the James Taylor school of non-acting. | 1:08:13 | 1:08:16 | |
What about Friday? | 1:08:16 | 1:08:17 | |
No, I can't. I'm sorry. Thank you. | 1:08:17 | 1:08:20 | |
New Year's Eve? | 1:08:20 | 1:08:21 | |
Well, I'm pretty sure I'm not going to be here for New Year's Eve. | 1:08:21 | 1:08:25 | |
What am I doing wrong? | 1:08:25 | 1:08:27 | |
Before Alice Doesn't Live Here Anymore even came out | 1:08:27 | 1:08:30 | |
it was hyped as a feminist breakthrough film | 1:08:30 | 1:08:33 | |
and Ellen Burstyn as its incipient movement superstar. | 1:08:33 | 1:08:37 | |
In retrospect, it's a fairly sappy Martin Scorsese romantic comedy, | 1:08:37 | 1:08:40 | |
notable mainly for the fact | 1:08:40 | 1:08:42 | |
that Alice doesn't end up in a shallow grave | 1:08:42 | 1:08:44 | |
with Joe Pesci shovelling dirt on to her face while she's alive. | 1:08:44 | 1:08:47 | |
She actually finds her Kansas | 1:08:47 | 1:08:49 | |
right here in the middle of little old nowhere USA. | 1:08:49 | 1:08:53 | |
I want you and Tommy with me. What do you want? | 1:08:53 | 1:08:55 | |
Oh, David, you just don't understand. | 1:08:55 | 1:08:57 | |
You can be happy here. | 1:08:57 | 1:08:59 | |
Oh, sure! Sure! | 1:08:59 | 1:09:01 | |
But I'm not going to let anybody stop me this time. | 1:09:01 | 1:09:04 | |
Who's stopping you? | 1:09:04 | 1:09:06 | |
Ellen Burstyn was pre-ordained to win the Academy Award in 1975, | 1:09:07 | 1:09:12 | |
due in large part to the political agenda pushed by the marketers. | 1:09:12 | 1:09:16 | |
But it's not really a political film at all. | 1:09:16 | 1:09:19 | |
It's a road film with an all together rare happy ending. | 1:09:19 | 1:09:22 | |
Far less attention was paid to Goldie Hawn's superior performance | 1:09:22 | 1:09:28 | |
in The Sugarland Express - | 1:09:28 | 1:09:30 | |
that was Steven Spielberg's film from the same year | 1:09:30 | 1:09:33 | |
about an outlaw couple trying to retrieve | 1:09:33 | 1:09:35 | |
their baby from the state of Texas, | 1:09:35 | 1:09:37 | |
who's taken it and put into foster care. | 1:09:37 | 1:09:40 | |
This true, but incredible event happened in Texas in 1969. | 1:09:42 | 1:09:47 | |
After winning the Academy Award in 1969 for Cactus Flower, | 1:09:49 | 1:09:53 | |
Goldie Hawn was proving to be an incredibly versatile actress, | 1:09:53 | 1:09:56 | |
and, in Sugarland Express, she gave a powerful performance | 1:09:56 | 1:10:00 | |
as Lou Jean Poplin. | 1:10:00 | 1:10:02 | |
Welfare's taken baby Linus, and they're going to keep him | 1:10:02 | 1:10:05 | |
in that foster home. | 1:10:05 | 1:10:07 | |
I want my baby back. | 1:10:07 | 1:10:09 | |
Both of these films are notable because they were female-led. | 1:10:09 | 1:10:13 | |
They prefigured Thelma and Louise. | 1:10:13 | 1:10:15 | |
They showed that, by the mid '70s, the nature of road films had shifted | 1:10:15 | 1:10:18 | |
from drifting marginalised loners to drifting marginalised families, | 1:10:18 | 1:10:23 | |
from political self-consciousness to dystopian fairy-tales. | 1:10:23 | 1:10:27 | |
They marked the end of the genre's most prolific period. | 1:10:27 | 1:10:30 | |
We're in real trouble. | 1:10:30 | 1:10:31 | |
The road film all but disappeared | 1:10:38 | 1:10:40 | |
between the mid '70s until well into the '80s - | 1:10:40 | 1:10:43 | |
probably a victim of its own existential meandering. | 1:10:43 | 1:10:46 | |
A lot of films were made that had cars in them - | 1:10:46 | 1:10:49 | |
most starred Burt Reynolds, | 1:10:49 | 1:10:50 | |
but the idea of rebellion in a film had all but become stifled. | 1:10:50 | 1:10:55 | |
Why? I don't know. | 1:10:55 | 1:10:57 | |
I don't know. | 1:10:57 | 1:10:58 | |
Most influential American film directors at the time | 1:10:58 | 1:11:01 | |
cut their teeth on road films. | 1:11:01 | 1:11:03 | |
Martin Scorsese, Francis Ford Coppola, | 1:11:03 | 1:11:06 | |
Steven Spielberg, Terence Malik... | 1:11:06 | 1:11:09 | |
There must be another... | 1:11:10 | 1:11:11 | |
There must be some other director of artistic integrity... | 1:11:11 | 1:11:15 | |
How's the cheesecake, hon? | 1:11:15 | 1:11:16 | |
It's not that, er... Everything else was fine. | 1:11:16 | 1:11:19 | |
-I'll take this. Maybe it's... -No! No! | 1:11:19 | 1:11:21 | |
I'll tell you why. | 1:11:21 | 1:11:22 | |
Let's say that it really was good cheesecake. | 1:11:22 | 1:11:26 | |
Let's say that it became the most popular thing on the menu, | 1:11:26 | 1:11:30 | |
that the only reason people came here was for the cheesecake. | 1:11:30 | 1:11:33 | |
Right? They don't want the Network Burger or the Taxi Driver Omelette, | 1:11:33 | 1:11:37 | |
or the French Connection Soup - they just want cheesecake. | 1:11:37 | 1:11:42 | |
Then they start telling their friends and neighbours, | 1:11:42 | 1:11:45 | |
"Go to the Livingston Truck Stop! The cheesecake is out of this world! | 1:11:45 | 1:11:49 | |
"It's like something from a planet a long, long time ago | 1:11:49 | 1:11:52 | |
"in a galaxy far, far away." | 1:11:52 | 1:11:54 | |
And then, pretty soon, that's all anybody would want. | 1:11:54 | 1:11:58 | |
They wouldn't care about taste any more, would they, sir? | 1:11:58 | 1:12:01 | |
They just want this stodgy, | 1:12:01 | 1:12:03 | |
lumpy piece of compound passing itself off as cheesecake. | 1:12:03 | 1:12:08 | |
And then, pretty soon, | 1:12:08 | 1:12:10 | |
the diner turns into this big, money-sucking franchise, | 1:12:10 | 1:12:13 | |
selling cheesecake action figures and cheesecake light sabres, | 1:12:13 | 1:12:18 | |
plundering clients for generations to come. | 1:12:18 | 1:12:21 | |
And then, one day, | 1:12:21 | 1:12:24 | |
the diner announces it's coming out with a sequel to the cheesecake. | 1:12:24 | 1:12:28 | |
Huh? And everyone flocks here | 1:12:28 | 1:12:30 | |
to see the new, improved version of the cheesecake. | 1:12:30 | 1:12:33 | |
And then, the waitress walks up with a big bowl of egg yolks | 1:12:33 | 1:12:37 | |
and says, "Here you go, sir, here's some egg yolk. | 1:12:37 | 1:12:40 | |
"Here's some vanilla extract. | 1:12:40 | 1:12:42 | |
"Here's some cream cheese." | 1:12:42 | 1:12:44 | |
These are all the things that made up the cheesecake | 1:12:44 | 1:12:47 | |
before it was cheesecake. | 1:12:47 | 1:12:49 | |
And they do this not once, but three times! | 1:12:49 | 1:12:52 | |
Three times! And people don't care. | 1:12:52 | 1:12:55 | |
They come here for the cheesecake anyway | 1:12:55 | 1:12:57 | |
because they've forgotten there was a time | 1:12:57 | 1:13:00 | |
when there was something on the planet besides cheesecake! | 1:13:00 | 1:13:04 | |
And that is how George Lucas screwed up American cinema. | 1:13:04 | 1:13:09 | |
How about a piece of pecan pie? I bet it's fresher. | 1:13:11 | 1:13:15 | |
All right. | 1:13:15 | 1:13:17 | |
MUSIC: "Love Missile F1-11" by Sigue Sigue Sputnik | 1:13:19 | 1:13:22 | |
The '80s came in on a big fat wave of conservatism. | 1:13:22 | 1:13:26 | |
Big was better. Greed was good. | 1:13:26 | 1:13:28 | |
# The US bombs cruising overhead... # | 1:13:28 | 1:13:31 | |
There were boycotts, bombings, | 1:13:31 | 1:13:33 | |
and the man famous for sharing the screen with a chimp | 1:13:33 | 1:13:36 | |
got himself elected president. | 1:13:36 | 1:13:37 | |
# ..my love rocket red. # | 1:13:37 | 1:13:40 | |
He declared war on just about everyone. | 1:13:40 | 1:13:43 | |
He didn't expect them to shoot back. | 1:13:43 | 1:13:44 | |
And when they did, he removed the bullet with his bare hand, | 1:13:44 | 1:13:47 | |
and then, for no reason, invaded Panama. | 1:13:47 | 1:13:50 | |
Independent vision and rebellion all but died in American film | 1:13:51 | 1:13:55 | |
when Ronald Reagan became president. | 1:13:55 | 1:13:57 | |
There was no more cultural criticism, | 1:13:57 | 1:13:59 | |
there was just big daddy paternal action figures. | 1:13:59 | 1:14:02 | |
Rambo and Arnie. Indiana Jones. | 1:14:02 | 1:14:04 | |
The guys are actually Ronald Reagan in disguise. | 1:14:04 | 1:14:08 | |
There was no social or political or historical grounding. | 1:14:09 | 1:14:12 | |
There was just adrenaline-fuelled, action-packed plots. | 1:14:12 | 1:14:16 | |
Just get in a jet plane and just do it! | 1:14:16 | 1:14:19 | |
Do it! Do it! Do it! | 1:14:19 | 1:14:20 | |
# ..stronger than steel You won't feel... # | 1:14:20 | 1:14:23 | |
Helicopter shots, mega lenses, | 1:14:23 | 1:14:26 | |
Steadicams, tracking devices, | 1:14:26 | 1:14:28 | |
fat egos. | 1:14:28 | 1:14:30 | |
Coke-fuelled production budgets | 1:14:30 | 1:14:32 | |
rendered normal highway speed obsolete. | 1:14:32 | 1:14:34 | |
Why show a normal car when you could show a car that goes | 1:14:34 | 1:14:38 | |
back into the future? | 1:14:38 | 1:14:40 | |
Why show a car at all? Show a space station. | 1:14:40 | 1:14:43 | |
Existential angst? Ha! | 1:14:43 | 1:14:45 | |
It was American kick ass time. | 1:14:45 | 1:14:48 | |
You see, in a good road movie, a character's crisis of identity | 1:14:48 | 1:14:51 | |
will mirror the nation's crisis of identity | 1:14:51 | 1:14:54 | |
but America wasn't having a crisis of identity | 1:14:54 | 1:14:56 | |
because America thought it was Rambo. | 1:14:56 | 1:14:58 | |
Normal road films can't encompass that. | 1:14:58 | 1:15:01 | |
So, you get Mad Max, Road Warrior, starring Mel Gibson. | 1:15:01 | 1:15:04 | |
He's mad. | 1:15:04 | 1:15:06 | |
Not angry. That'll come later when he starts | 1:15:06 | 1:15:08 | |
beating up his girlfriend and slagging off the Jews. | 1:15:08 | 1:15:11 | |
Right now, he's just mad. | 1:15:11 | 1:15:13 | |
Mad Max. | 1:15:13 | 1:15:15 | |
The crack interceptor on the highways of tomorrow. | 1:15:16 | 1:15:19 | |
Into a world without law. | 1:15:19 | 1:15:21 | |
Americans, of course, | 1:15:21 | 1:15:22 | |
didn't quite get that Mad Max was Australia making fun of them. | 1:15:22 | 1:15:26 | |
They just saw it as an action movie with lots of exploding cars | 1:15:26 | 1:15:29 | |
and a smarmy, punk attitude. | 1:15:29 | 1:15:30 | |
The same is true of Repo Man, | 1:15:30 | 1:15:33 | |
another film that takes a snarly attitude about cars and travel. | 1:15:33 | 1:15:37 | |
British director Alex Cox's 1983 film | 1:15:37 | 1:15:40 | |
was as derogatory about the punk counterculture | 1:15:40 | 1:15:42 | |
as previous road films had been about hippies. | 1:15:42 | 1:15:45 | |
And like Road Warrior, it transplants anti heroes | 1:15:45 | 1:15:48 | |
with ridiculous caricatures of punk burn out. | 1:15:48 | 1:15:51 | |
I had a lobotomy, in the end. | 1:15:51 | 1:15:52 | |
A lobotomy? | 1:15:52 | 1:15:53 | |
Isn't that for loonies? | 1:15:53 | 1:15:55 | |
Not at all. | 1:15:55 | 1:15:58 | |
These films put so much critical distance | 1:15:58 | 1:16:00 | |
between themselves and the viewer that they come off as comedies. | 1:16:00 | 1:16:03 | |
America had turned into a snarling loud-mouthed | 1:16:07 | 1:16:10 | |
"Let's go back to 'Nam | 1:16:10 | 1:16:11 | |
"and get it right because we were winning when we left" bore. | 1:16:11 | 1:16:15 | |
Somebody was getting their ass kicked every five minutes. | 1:16:15 | 1:16:18 | |
In the news. And in the cinema. | 1:16:18 | 1:16:20 | |
It took an outsider, a foreigner, a German, to remind us | 1:16:20 | 1:16:24 | |
that road films are always a detached form of entertainment. | 1:16:24 | 1:16:27 | |
Wim Wenders had been making German road films since 1972, | 1:16:27 | 1:16:31 | |
Alice In The Cities and Kings Of The Road being prime examples. | 1:16:31 | 1:16:35 | |
Wenders likes to claim that his films | 1:16:35 | 1:16:37 | |
often start off with road maps instead of scripts. | 1:16:37 | 1:16:40 | |
Therefore, there's often no fixed place of origin. | 1:16:40 | 1:16:43 | |
In Paris, Texas, | 1:16:43 | 1:16:44 | |
we first encounter Harry Dean Stanton's character Travis | 1:16:44 | 1:16:47 | |
wandering with no apparent aim | 1:16:47 | 1:16:49 | |
through the desert of southwest Texas. | 1:16:49 | 1:16:51 | |
Travis inhabits a world where surface meanings | 1:16:51 | 1:16:54 | |
seem to have been replaced by representations. | 1:16:54 | 1:16:57 | |
He possesses no recollection of his family | 1:17:00 | 1:17:03 | |
and when he is located by his brother Walt, | 1:17:03 | 1:17:05 | |
he seems to have rejected all forms of communication. | 1:17:05 | 1:17:08 | |
The film is based on a book of short stories by Sam Shepard | 1:17:08 | 1:17:11 | |
called Motel Chronicles. | 1:17:11 | 1:17:13 | |
Wenders seems to be trying to show us someone who was unable | 1:17:13 | 1:17:17 | |
to express his identity and even the act of travel, which usually allows | 1:17:17 | 1:17:22 | |
characters at least to reinvent themselves, has failed here. | 1:17:22 | 1:17:25 | |
Ha! We thought you were dead, boy. | 1:17:25 | 1:17:29 | |
How long have I been gone, do you know? | 1:17:30 | 1:17:32 | |
Four years. | 1:17:32 | 1:17:34 | |
Is four years a long time? | 1:17:34 | 1:17:36 | |
It is for a little boy. | 1:17:36 | 1:17:38 | |
Travis carries a crumpled photo | 1:17:38 | 1:17:40 | |
of a vacant lot in a place called Paris, Texas, | 1:17:40 | 1:17:42 | |
which he believes to be the place of his conception. | 1:17:42 | 1:17:44 | |
His brother tries to help him piece together his past | 1:17:44 | 1:17:48 | |
but they are both totally reliant on technical reproduction. | 1:17:48 | 1:17:51 | |
Travis comes to believe that he has a wife | 1:17:51 | 1:17:54 | |
and a young son from watching Super 8 holiday footage. | 1:17:54 | 1:17:57 | |
Even when he re-establishes contact with his son, | 1:17:57 | 1:18:00 | |
he can only communicate with him using a walkie-talkie. | 1:18:00 | 1:18:03 | |
I can never heal up what happened. | 1:18:03 | 1:18:05 | |
I can't even hardly remember what happened. | 1:18:07 | 1:18:09 | |
It's like a gap. | 1:18:09 | 1:18:11 | |
When he finally meets up with his estranged wife, | 1:18:11 | 1:18:14 | |
he has to talk to her through a peepshow window. | 1:18:14 | 1:18:18 | |
Is there something... I don't know, is there something I can do for you? | 1:18:18 | 1:18:22 | |
Once he has more or less | 1:18:22 | 1:18:24 | |
successfully reunited with his family, | 1:18:24 | 1:18:26 | |
he leaves a message telling them goodbye | 1:18:26 | 1:18:28 | |
and wanders off into the desert. | 1:18:28 | 1:18:32 | |
Despite the fatalistic nature of the film, | 1:18:35 | 1:18:38 | |
the cinematography by Robby Muller contradicts the film's | 1:18:38 | 1:18:41 | |
sense of personal claustrophobia and entrapment. | 1:18:41 | 1:18:44 | |
We see rolling landscapes, desert exile, moving countryside, | 1:18:44 | 1:18:48 | |
exterior shots of vehicles speeding past the camera. | 1:18:48 | 1:18:51 | |
In other words, the same context as other road movies but now, | 1:18:51 | 1:18:56 | |
these images serve merely serve as representations of travel. | 1:18:56 | 1:18:59 | |
And because Travis ends up choosing this life over family, | 1:18:59 | 1:19:03 | |
Wenders shows us a character whose identity | 1:19:03 | 1:19:05 | |
is not influenced by the road, it actually IS the road. | 1:19:05 | 1:19:08 | |
Paris, Texas was instrumental in reviving the road film genre. | 1:19:10 | 1:19:15 | |
And in reminding us that | 1:19:15 | 1:19:16 | |
even though they are a purely American concept, | 1:19:16 | 1:19:18 | |
road films are essentially European in nature. | 1:19:18 | 1:19:22 | |
The characters are always outside the mainstream, marginalised. | 1:19:22 | 1:19:27 | |
The director is always forced | 1:19:27 | 1:19:28 | |
to take the point of view of an outsider. | 1:19:28 | 1:19:31 | |
And nowadays, the road film | 1:19:37 | 1:19:39 | |
is completely at the mercy of the director's vision. | 1:19:39 | 1:19:41 | |
You can no longer count on spectacular scenery | 1:19:41 | 1:19:44 | |
to make a film memorable because we've seen it all before. | 1:19:44 | 1:19:48 | |
60 years of road sceneries absorbed it all. | 1:19:48 | 1:19:51 | |
Mountains, vistas, canyons, rivers, sunsets. | 1:19:53 | 1:19:58 | |
People go through Monument Valley and always say one thing. | 1:20:00 | 1:20:03 | |
Honey, it looks just like a John Ford film. | 1:20:03 | 1:20:06 | |
As if John fucking Ford invented Monument Valley. | 1:20:06 | 1:20:09 | |
Monument Valley was here long before the John Ford | 1:20:09 | 1:20:12 | |
ever put his big fat clod-hoppers onto it. | 1:20:12 | 1:20:14 | |
You can no longer count on ancient geology | 1:20:14 | 1:20:17 | |
or spectacular scenery to make a film worthwhile. | 1:20:17 | 1:20:20 | |
We expect to see ancient geology, but we also expect to see that big, | 1:20:20 | 1:20:24 | |
sexy, sweeping, soaring money shot. | 1:20:24 | 1:20:28 | |
It's both reality and a total simulation of reality. | 1:20:28 | 1:20:31 | |
Film critics and scholars call that hyper-realism. A representation. | 1:20:32 | 1:20:38 | |
You know, is this a real rock? | 1:20:38 | 1:20:40 | |
Or is this a simulation of a rock? | 1:20:40 | 1:20:43 | |
It's a real rock. | 1:20:45 | 1:20:47 | |
What this means is that like Westerns, | 1:20:48 | 1:20:50 | |
we are expected to know what a road movie is supposed to look like. | 1:20:50 | 1:20:53 | |
And when a genre becomes entrenched like this, | 1:20:53 | 1:20:56 | |
it becomes ripe for gimmickry. | 1:20:56 | 1:20:58 | |
Over the course of the '80s, and into the '90s, | 1:20:58 | 1:21:01 | |
we get lots of road movie parodies. | 1:21:01 | 1:21:03 | |
Notably Lost In America. | 1:21:03 | 1:21:06 | |
We get a Canadian version of a road film called Highway 61. | 1:21:06 | 1:21:10 | |
We get a British version called Butterfly Kiss. | 1:21:10 | 1:21:12 | |
And eventually, we get the epic Thelma And Louise. | 1:21:12 | 1:21:17 | |
Thelma and Louise are going fishing. | 1:21:17 | 1:21:19 | |
-How come Darryl let you go? -Cos I didn't ask him! | 1:21:19 | 1:21:22 | |
-He is going to kill you! -I left him a note. | 1:21:22 | 1:21:25 | |
Lots of directors have attempted to infuse the road movie | 1:21:26 | 1:21:29 | |
with the characters revolting | 1:21:29 | 1:21:31 | |
against what's expected of their nature. | 1:21:31 | 1:21:34 | |
Thelma And Louise is the best. | 1:21:34 | 1:21:36 | |
Not because it is a feminist reworking of a predominantly male territory. | 1:21:36 | 1:21:40 | |
Sugarland Express and Alice Doesn't Live Here Anymore | 1:21:40 | 1:21:43 | |
had already been there. | 1:21:43 | 1:21:45 | |
It's best because it is a well-made film. | 1:21:45 | 1:21:47 | |
Do you want to step back and get in your car again? | 1:21:48 | 1:21:51 | |
I swear, three days ago, we would never have pulled a stunt like this | 1:21:51 | 1:21:54 | |
-but if you were to meet my husband, you'd understand why. -What? | 1:21:54 | 1:21:57 | |
Thelma And Louise is about two women temporarily escaping | 1:21:59 | 1:22:03 | |
their oppressive relationships by taking a road trip. | 1:22:03 | 1:22:06 | |
They hit a rowdy bar, | 1:22:06 | 1:22:08 | |
a drunk tries to rape Thelma and Louise plugs him. | 1:22:08 | 1:22:11 | |
Their carefree mood evaporates and convinced | 1:22:11 | 1:22:14 | |
that Thelma's self-defence story will never hold up, | 1:22:14 | 1:22:18 | |
the two become fugitives. | 1:22:18 | 1:22:20 | |
Thelma and Louise take to the road for two reasons - | 1:22:22 | 1:22:24 | |
to escape patriarchy, the male dominated work place and home, | 1:22:24 | 1:22:28 | |
but more importantly, | 1:22:28 | 1:22:29 | |
to escape the male dominated legal system that legitimises rape. | 1:22:29 | 1:22:33 | |
The heroines end up martyring themselves, not self-consciously | 1:22:33 | 1:22:37 | |
like Easy Rider or Vanishing Point, these women have no choice. | 1:22:37 | 1:22:41 | |
Thus, the film's epic ending manages to do two things - | 1:22:49 | 1:22:52 | |
to make an astounding pro-feminist statement | 1:22:52 | 1:22:55 | |
and to reinforce certain truisms about women drivers. | 1:22:55 | 1:22:59 | |
Cos, you know, women are bad drivers. | 1:23:01 | 1:23:03 | |
That's what I'm saying. | 1:23:03 | 1:23:04 | |
They drove off a cliff. | 1:23:06 | 1:23:07 | |
They weren't even yapping into cell phones. | 1:23:07 | 1:23:10 | |
You want me to shoot Sailor, in the brains? | 1:23:12 | 1:23:16 | |
With a gun? | 1:23:16 | 1:23:19 | |
Uh-oh. | 1:23:19 | 1:23:20 | |
Lula! | 1:23:28 | 1:23:30 | |
Wild At Heart takes the road movie into its post-modern period. | 1:23:32 | 1:23:35 | |
David Lynch recycles and blends generic road images, | 1:23:35 | 1:23:39 | |
all flashy camera work and tilted angles, | 1:23:39 | 1:23:42 | |
it's supremely self-conscious and grandstanding. | 1:23:42 | 1:23:45 | |
It is also totally condescending toward suburban culture | 1:23:45 | 1:23:49 | |
and the American family. | 1:23:49 | 1:23:51 | |
The film lampoons rebellion. | 1:23:51 | 1:23:54 | |
It takes violence to sadistic cartoon levels, | 1:23:54 | 1:23:57 | |
it makes fun of George Lucas-type special effects but in the end, | 1:23:57 | 1:24:01 | |
it follows the same neoconservative thread as most road movies. | 1:24:01 | 1:24:04 | |
Sailor and Lula, the star-crossed killers will end up | 1:24:04 | 1:24:08 | |
realising their dream which is to be a happy, white, suburban family. | 1:24:08 | 1:24:12 | |
So, Wild At Heart is David Lynch trying to kill off every last notion | 1:24:12 | 1:24:17 | |
of what the Wizard Of Oz was trying to say. | 1:24:17 | 1:24:19 | |
Sailor. | 1:24:19 | 1:24:21 | |
The good witch. | 1:24:24 | 1:24:25 | |
Sailor Ripley. | 1:24:25 | 1:24:28 | |
Lula loves you. | 1:24:28 | 1:24:30 | |
If David Lynch tried to kill off a film, | 1:24:30 | 1:24:32 | |
leave it to Oliver Stone to try to kill off an entire genre. | 1:24:32 | 1:24:35 | |
In much the same way as he pummelled the rock star pic | 1:24:35 | 1:24:39 | |
into cinematic overkill with The Doors, | 1:24:39 | 1:24:42 | |
he takes a big, steaming grudge dump | 1:24:42 | 1:24:44 | |
on road films with Natural Born Killers. | 1:24:44 | 1:24:47 | |
Oliver Stone threw everything he had at the road movie | 1:24:50 | 1:24:53 | |
in an attempt to kill it and it's still here. | 1:24:53 | 1:24:57 | |
He probably did it a favour by making it so ridiculous | 1:24:57 | 1:24:59 | |
that there was nowhere to go but back to its roots. | 1:24:59 | 1:25:02 | |
At the end of the last century, | 1:25:05 | 1:25:07 | |
David Lynch made a film called The Straight Story. | 1:25:07 | 1:25:10 | |
It is a contrite attempt | 1:25:10 | 1:25:12 | |
to return the road movie to its simplest premise. | 1:25:12 | 1:25:15 | |
ENGINE WHIRRS | 1:25:15 | 1:25:18 | |
It's the story about a 73-year-old man | 1:25:19 | 1:25:21 | |
who is told by his doctor | 1:25:21 | 1:25:24 | |
that he can no longer drive a car. He finds out | 1:25:24 | 1:25:26 | |
his estranged brother Lyle has had a stroke | 1:25:26 | 1:25:28 | |
so he sets out from Wisconsin to Iowa on the only vehicle | 1:25:28 | 1:25:32 | |
he's legally allowed to drive, a John Deere mower. | 1:25:32 | 1:25:35 | |
Mount Zion, Wisconsin? Why don't you just take your car? | 1:25:35 | 1:25:40 | |
-I don't have a driver's license. -That's 60 more miles of hills. | 1:25:40 | 1:25:44 | |
Along the way, Alvin befriends various people | 1:25:44 | 1:25:47 | |
including a pregnant girl | 1:25:47 | 1:25:48 | |
and a family who lets him live in their backyard | 1:25:48 | 1:25:50 | |
until his mower is repaired. | 1:25:50 | 1:25:54 | |
The film subverts the whole idea of speed and momentum. | 1:25:54 | 1:25:56 | |
Most road films are about going nowhere fast. | 1:25:56 | 1:26:00 | |
The Straight Story is about going somewhere slow. | 1:26:00 | 1:26:02 | |
And in one of the most sublime endings to a road film ever, | 1:26:02 | 1:26:06 | |
when Alvin meets up with his brother Lyle after a two-month journey, | 1:26:06 | 1:26:09 | |
the brother he hasn't talked to in 25 years, | 1:26:09 | 1:26:12 | |
played by Harry Dean Stanton, | 1:26:12 | 1:26:14 | |
a man whose work in road films spanned from a cameo | 1:26:14 | 1:26:18 | |
as a gay hitchhiker in Two Lane Blacktop right through Repo Man | 1:26:18 | 1:26:21 | |
and Paris, Texas and Wild At Heart, a man whose face and world weariness | 1:26:21 | 1:26:25 | |
is the very embodiment of road films themselves, | 1:26:25 | 1:26:29 | |
Lynch gives us one of the best endings to any film ever | 1:26:29 | 1:26:32 | |
and proves that he actually is capable of directing | 1:26:32 | 1:26:35 | |
a film set on the planet Earth. | 1:26:35 | 1:26:37 | |
And most of all, it shows us the one true thing that separates | 1:26:40 | 1:26:43 | |
the road movie from all other genres. | 1:26:43 | 1:26:46 | |
In most movies, it's the actions that speak louder than the words. | 1:26:46 | 1:26:50 | |
In a road movie, the silent moments are the most effective. | 1:26:50 | 1:26:53 | |
Did you ride that thing all the way out here to see me? | 1:27:01 | 1:27:05 | |
I did, Lyle. | 1:27:08 | 1:27:10 | |
It is a construct of most drama | 1:27:29 | 1:27:31 | |
to invent credible reasons for the characters to stay. | 1:27:31 | 1:27:35 | |
Sometimes, we watch a story and we think, | 1:27:35 | 1:27:38 | |
why doesn't this idiot just leave? | 1:27:38 | 1:27:40 | |
And that's where the road movie begins. | 1:27:40 | 1:27:42 | |
The ideas of escape, wanderlust, drift, reinvention | 1:27:42 | 1:27:46 | |
or just falling off the face of the planet | 1:27:46 | 1:27:49 | |
are all universal human conditions. | 1:27:49 | 1:27:51 | |
And America doesn't own the road film, | 1:27:51 | 1:27:53 | |
but it definitely has the best sets. | 1:27:53 | 1:27:55 | |
Even as I speak, that quintessential American novel On The Road | 1:27:55 | 1:27:59 | |
is being filmed by director Walter Salles | 1:27:59 | 1:28:02 | |
with a crew much bigger than this one. | 1:28:02 | 1:28:05 | |
And it's being filmed in Canada. | 1:28:05 | 1:28:07 | |
A travel writer once famously said, | 1:28:07 | 1:28:10 | |
"Thanks to the interstate highway system, | 1:28:10 | 1:28:12 | |
"it's now possible to cross America without seeing anything." | 1:28:12 | 1:28:15 | |
But because of its back roads, | 1:28:15 | 1:28:18 | |
it's also possible to cross America and see everything. | 1:28:18 | 1:28:21 | |
In a road movie, the number on the highway doesn't matter, | 1:28:21 | 1:28:25 | |
it only matters where it goes. | 1:28:25 | 1:28:27 | |
And that's one of two directions. | 1:28:27 | 1:28:29 | |
Home. | 1:28:29 | 1:28:30 | |
Or away from it. | 1:28:30 | 1:28:31 | |
So, pick a lane. | 1:28:31 | 1:28:33 | |
The only dangerous part to be is in the middle. | 1:28:33 | 1:28:35 | |
# I pulled out of Pittsburgh rolling down the eastern seaboard | 1:28:35 | 1:28:39 | |
# I've got my diesel wound up and she's running like never before | 1:28:41 | 1:28:45 | |
# There's a speed zone ahead all right | 1:28:47 | 1:28:50 | |
# I ain't seen a cop all night | 1:28:50 | 1:28:53 | |
# Six days on the road and now I'm going to make it home tonight | 1:28:53 | 1:28:57 | |
# Six days on the road | 1:28:58 | 1:29:00 | |
# And I'm going to make it home tonight. # | 1:29:00 | 1:29:02 | |
Subtitles by Red Bee Media Ltd | 1:29:05 | 1:29:08 | |
E-mail [email protected] | 1:29:08 | 1:29:10 |