Easy Rider (Buscando mi destino)

Dennis Hopper's Easy Rider is often cited as being an all time classic, and while I don't think this is a great film in terms of technical brilliance, it sums up the era it was made and the tongue in cheek, cynical take on the 'American dream' is both potent and well done. This film is very much a product of the sixties and, like many things from the decade, will always be fondly remembered. Dennis Hopper and Peter Fonda, men of substance and substance abuse, wrote the film together and Hopper directed it. These two were obviously in the thick of what was cool in the sixties, and that gives the film an element of authenticity as we feel like what we're seeing isn't too far away from the things really going on at that time. The plot is simple and more just a base for the film to deliver it's real sting than anything else. It follows two motorbike riders on their way from Los Angeles to the Mardi Gras in New Orleans. We follow their exploits as they travel the country meeting various people including, most notably, George Hanson; an offbeat lawyer, played by the great Jack Nicholson.

The American Dream has always been about freedom. But like George Hanson says; it's one thing to talk about being free, but something else entirely to actually be it. That's the theme of the entire movie, and the way that it plays out, and the ending especially, aptly portray the difference between saying something and actually doing it. The acting performances are a big part of the movie, and the two leads; Peter Fonda and Dennis Hopper stick out the most. The two actors brilliantly get into their characters, and after a while you forget that you're watching actors and start to think that these people really are these characters. Jack Nicholson turns up halfway through and steals the show. It's not hard to see why this actor went on to become one of the best of all time. Even here, he shows his charisma and ability to steal the show and that is what he would go on to become famous for doing later in his career. Last but not least, another great thing about Easy Rider is the music. Music was, of course, a big thing in the sixties; and it's a big thing about this movie. Classic rock accompanies the pictures of the two men rider their bikes, and it's very cool indeed. On the whole, this film is an out and out classic.

There is so much going on in the multi-layered Easy Rider. For one thing, it doesn't glorify hippies. In fact, Hopper and Fonda are really just businessmen, out to make the big score. They're quintessentially American -- Fonda calls himself Captain America, and wears an American flag on his leather jacket, and has red, white and blue painted on his chopper's gas tank. These guys really just want to make money, not change society. If it were the 80's, they'd be selling computers. Also, some interesting symbolism -- Fonda puts the stash of money resulting from the drug sale in his gas tank -- in other words, money fuels the American dream.

This film is also an anti-Western. Instead of heading west, these guys head east. They pass through Monument Valley, site of many John Ford westerns. At an early point, they fix their choppers in a barn while a farmer fixes the horseshoes for his horse.

There is a structure to this seemingly freewheeling tale: the trip starts out idealistically. After they go to the commune, Fonda and Hopper skinny-dip with two hippie chicks in a bucolic, peaceful setting. The music is laid-back, the Byrds, the drug used is marijuana. It's an idealized example of "free love." Later, in New Orleans, our two heroes hook up with two prostitutes -- so much for free love. Fonda breaks down during an acid trip, and instead of music we hear the jarring sounds of an industrial, urbanized landscape -- geographically and symbolically far away from that Arizona commune.

This film doesn't glorify the hippie ethos -- in fact, it almost seems like a neo-conservative critique on the limitations of the hippie experience. Late in the film, Fonda tells Hopper, "We blew it," a line that prefigures the ultimate disillusionment that set in during the early 70's, when the Age of Aquarius gave way to Watergate, malaise, Reagan and rampant consumerism.

I was utterly surprised by this film. I was expecting nothing more than some short scenes of our now-infamous actors smoking marijuana followed by trippy Willy Wonka scenes . Oddly, this did occur, but this film was much more than that. This film should be shown in every American History class in the United States. It not only showed the beauty of the country of which we reside, but it also spoke about the people that reside in it. You know the old saying, 'Guns don't kill people, people kill people', well after watching this film, it is a very true statement. We are afraid of what is different. We are a culture that is afraid of change, yet seek it so badly. We are a society of hypocrites, androids, and ignorants. We thrive on the fact that we are the best country in the world, yet somebody shows any disassociation of routine, we are the first to question and get angry. I would dare say that we have moved so far from the 60s that I cannot see why our parents do not cry everyday. Their generations was a free-spirited, mind challenging culture that explored all possibilities no matter the cost. The experience was all they needed as a reward. Now, we are more concerned about money and the family-plan that we sometimes place ourselves on the backburner to life. Wake, eat, and pay the bills. What a sad daily structure that we have. When was the last time you considered the possibility of just jumping on your bike and riding until you hit water? Probably not for a long time … why? It is called 'bills' and 'responsibilities'. These are the choices that we chose to make, and for anyone to say that they cannot do it, I would have to challenge. You CAN do anything, it is whether you chose to do it is another question. I wonder what it will be like in another 30 years. Where will we be, and will the idea of individualism be lost? I can't wait to see …

Outside of the deeply rooted themes of this film, I felt that Hopper (who also directed) knew exactly what he was doing behind the camera. He kept the talking short, the music loud and symbolic, and allowed the background to do the explaining. I loved the fact that we really knew nothing about Fonda or Hopper's characters. It allowed us to relate to them. You could easily add your story into their characters and have the life that you lead and wish to escape. Hopper was able to transform this film from a drug movie to a film about humanity. Fonda, who also helped write the film with Hopper, did a superb job of adding Nicholson's character into the mix.

Nicholson represented us, the American public and our love of liquor, football, and lies. I viewed Nicholson as the average American. He drank too much, was the product of a wealthy upbringing, but did not know much about the world. He was sheltered. He never smoked weed (in fact didn't even know what it was when presented to him), never left the state line, and never lived life. He constantly used the expression, 'I have always wanted to …'. How many times do you hear this a day from either a family member or a co-worker? If you always wanted to do it, why haven't you? So, here we have Hanson, dreaming a dream but never following through, who is traveling with two guys that live the ultimate life and live by their own rules. They are complete opposites, but Hanson's words seemed to remain in my mind for a long time. He reminded me of one of my wife's students today that spoke about freedom. He knew exactly what it was, but never practiced it. Hopper and Fonda were walking (driving most of the time) representations of the word 'freedom'. It is tragic what happens to Harmon, because he (unfortunately) experienced the negative side of freedom … hatred and fear of the unknown.

There was one scene that just jumped out at me. It occurs in the diner before the incident later that night where our travelers experience hatred in the country they admire so much. They go from peace and love to fear and hate. It is as if they witnessed night and day. It was frightening to hear the words coming from people in that restaurant. It was not only scary to wonder what was going to happen to our narrators, but mainly that people were speaking that way to fellow citizens. I know that it still occurs today, and it is surprising to me. We bomb a country because they do not follow the same principles that we do, but we need to start asking ourselves this question … do we need another United States?

Grade: ***** out of *****

'Easy Rider' is much more than a 60s relic - it's still a great movie even today. I find it fascinating that Hopper and Fonda took Roger Corman material and gave it an arthouse approach influenced by Godard and the French New Wave. Combined with breathtaking visuals, a well chosen rock soundtrack and some classic, stoned, improvised dialogue this is still an impressive movie all these years later. Fonda had recently made 'The Wild Angels', Hopper the less remembered 'The Glory Stompers', and Jack Nicholson 'Hells Angels On Wheels', but 'Easy Rider' reinvented the biker movie, and things were never quite the same in Hollywood for the rest of the Seventies. The supporting cast is interesting and includes a great role for the fantastically underrated Luke Askew as the "Stranger on Highway", and cameos from the stars buddies Luana Anders ('Dementia 13') and Sabrina Scharf (Nicholson's love interest in 'Hells Angels On Wheels'), as well Karen Black and Toni Basil's New Orleans hookers, Phil Spector's coke snorting bit part, and a fleeting glimpse of a young Grizzly Adams. You either love this movie or you don't, and I'm most definitely in the former camp. A 1960s generation-defining counter-culture classic!

Two drifters, Wyatt "Captain America" (Peter Fonda) and Billy (Dennis Hopper) travel across the Southwestern and Southern United States with proceeds from a sale of cocaine to attend Mardi Gras in New Orleans, Louisiana encountering various characters along the way with the more countercultural persons welcoming of the two while traditionalist meet the two with contempt or sometimes violence.

Easy Rider is a 1969 road drama directed and co-written by Dennis Hopper who also stars in the film alongside co-writer and producer Peter Fonda. During the 1960s thanks to the success of AIP films such as The Wild Angels, this led to the creation of the subgenre of the Biker film. Both Fonda and Hopper had appeared in AIP produced Biker films as well as the Roger Corman directed LSD film The Trip (written by Jack Nicholson who'd end up with a prominent role in the film). While initially intended to be an AIP film the company wanted the option to replace Hopper if the film went over budget and rejecting that condition Fonda took the project to Columbia Pictures who backed the project. The film became a sleeper hit not only scoring solid critical reviews and earning Academy Award nominations for Best Original Screenplay and Best Supporting Actor for Jack Nicholson (in his mainstream breakout performance), but the film became a sizable financial success as the fourth highest grossing film that year and along with that year's Midnight Cowboy is credited with jumpstarting the New Hollywood era of 70s filmmaking. The historical value of Easy Rider is something to be admired, even if I feel the movie works better as a time capsule of its time better more than a movie.

In terms of its subject matter, Easy Rider from its opening is very loose in terms of structure and flow operating with a more avant garde approach that's less focused on story and more on experience. With a very documentary-like approach to the material Hopper for the first ten minutes or so doesn't even have any introduction to the characters of Wyatt and Billy and it feels very much like we're dropped into the middle of things with the two going about their business as the audience is along for the ride. There is a sense of character and history between the two with Wyatt being more sentimental and optimistic in comparison to Billy's more cynical outlook on the world and the two function as sounding boards for which the various vignettes to play off against. Hopper captures the beauty of the roads in the American Southwest and South as well as the contemporary social attitudes of both the counterculture and the traditionalists who react to the two with contempt at best or violence at worst.

Easy Rider is one of those movies where you can't dispute its historical and artistic value because without its influence it's a sure bet the landscape of film would be considerably different. While I found the film fascinating for capturing a portrait of a certain time and place in a cinema verite fashion, the film itself ultimately left me somewhat cold by the end. I think it is still worth a viewing however especially for its historical value both for its contributions to cinema as well as its portrait of 1960s America.