A cult classic road movie from the 70s.

Two-Lane Blacktop.

Two-Lane Blacktop is exactly the sort of film everyone expected there to be hundreds of after the global success that Easy Rider enjoyed in 1969.

Easy Rider starred and was written by Dennis Hopper and Peter Fonda, together with Terry Southern, who’d previously worked on the script for Dr. Strangelove and was credited by Tom Wolfe as having pioneered New Journalism. It cost just $400,000, but went on to gross over 60 million dollars. 

Both a commercial and a critical sensation, it ushered in the New Hollywood era that blossomed throughout the 70s with the likes of Robert Altman, Hal Ashby, Martin Scorsese, Francis (ex of Ford) Coppola and Paul Schrader.

Peter Fonda and Dennis Hopper in Easy Rider.

Surprisingly, Easy Rider has aged remarkably well and is definitely worth a look if you haven’t already seen it. As is this, its spiritual sequel.

Two-Lane Blacktop, the blacktop being the open road on which our latter day cowboys face up to one another on, came out in 1971 and was directed by Monte Hellman

A driver and a mechanic prowl the open road looking for likeminded loaners to race, living off of the proceeds. Inevitably, they pick up a girl looking for a, ahem, ride, and what plot there is revolves around their pursuit of her, and their confrontation with the older outrider they square off against on their respective steel steeds.

But neither the film nor its principle characters seem terribly interested in pursuing their objects of desire. Instead, it’s the spirit of Antonioni that reigns supreme. His regal Zabriskie Pointe (reviewed by me earlier here) had come out the previous year, and, as there, the predominant mood is one of existential ennui. 

Antonioni’s Zabriskie Point.

This is further accentuated by the casting. The two male leads are played by James Taylor and Dennis Wilson. The former went on to establish himself as the archetypal 70s singer songwriter, while Wilson was the least naturally gifted of the three Beach Boy brothers, musically speaking. And was so insanely young when the whole Beach Boys thing happened – he was 23 when Pet Sounds came out at the endof their heyday – that inevitably, he spent most of his thirties in a drug-addled haze, before drowning tragically at just 39.

Harry Dean Stanton, in a brief cameo in Two-Lane Blacktop.

So instead of the sort of performances with a capital P that you would have expected from a Dennis Hopper or a Jack Nicholson, they amble they way through the film in exactly the right state of disinterest, not so much by design as by default. Pleasingly, you suspect that their casting was similarly happenstance. They just happened to be there when that particular joint got passed around.

It doesn’t quite give the heady hit that Easy Rider produces. But it is a curio well worth investigating and is a pleasing antidote to all that green screen nonsense. 

Sign up for a subscription right or below, and I shall keep you posted every month on All the very Best and Worst in film, television and music!

Subscribe here for regular updates. And get your FREE GIFT of the first 2 chapters of my book, A Brief History Of Man.

The Beguiled and Dunkirk, a fab new shampoo ad and video game

The Beguiled.

The Beguiled.

Dunkirk and the Beguiled are the latest his and hers films from Christopher Nolan and Sofia Coppola. And if nothing else, they’re a slight improvement on the ones that they last produced.

Back in 2006, they’d offered up another pair of matching his and hers films, with the Prestige and Marie Antoinette. The former has a denouement that’s so mesmerically obvious, that you immediately dismiss it as soon as it occurs to you, oh, about 90 seconds into the film. Only to discover hours later, that yes, that is the explanation – it’s the explanation you always suspect when it comes to magicians.

The Prestige, really?

The Prestige, really?

It’s like listening to one of those jokes that nine year old boys tell. You know what the punchline is hours before they get to it, but you indulge them anyway. While Marie Antoinette is like watching his eight year old sister parading in her brand new dress, which she refuses to take off for days. And each time you encounter her, you’re expected to gasp dutifully in cowed admiration. Marie Antoinette is so vacuous and so vapid, that you’d have had difficulty sitting through the entire three minutes had it been offered up as a sub-Adam Ant pop promo.

What usually happens to everyone at that age is that, almost over night, they grow up. So that one year later, they are each mortified at how juvenile their behaviour was, when they were the tender ages of nine and eight, all that year ago. But every one in a million, the boy and girl fail to grow up. And they continue parading their new dress and telling their endless and remarkably unfunny, shaggy dog stories well into their twenties and beyond.

Marie Antoinette.

Marie Antoinette.

Here we are then ten years on, and the pair have produced another couple of films that, once again, are completely devoid of any real substance.

The Beguiled is a wholly un-necessary remake of a Clint Eastwood film, with Colin Farrell stepping in as the solitary man waylaid in a household lorded over by women. Had it been the latest 60 second Timotei ad, we could all have sat back and luxuriated in its glamorous, glitzy, glossy surface. But ninety minutes of pretty girls in vintage dresses, their immaculate hair back-lit just so, gliding in and out of the house from the garden begins to pall after a while. I love soft porn as much as the next guy, but even I drifted off after a while.

Dunkirk.

Dunkirk.

While Dunkirk prides itself on not giving any of its characters any sort of back story or history, robbing them all of any depth or individuality. What you have instead is a cast of interchangeable dark haired soldiers, let’s call them Players, who need to get from the bottom of the screen (France) to the safety of the top of the screen (England). But in their way, and coming at them from all directions, are a succession of creations designed to prevent them – torpedoes from the sea, Messerschmidts from the air, and orders from above etc.

MV5BMTc1ODcyNjk2MV5BMl5BanBnXkFtZTgwNjcyOTYwMTE@._V1._CR50,63,895,1375_UY1200_CR75,0,630,1200_AL_The only individuals who are given any form are the Mark Rylance and Cillian Murphy characters, because they’re isolated from everyone else on a small boat on its way in the opposite direction, from England to France, which after all is what the story is supposed to have been about. So that they literally get given space to stand out from the crowd.

Other than which, it’s just the loudest, most technologically sophisticated version of Space Invaders you’ll ever see. But you won’t be able to play it. This is one of those video games you can only watch, and who the hell wants to watch a video game you can’t play?

A Separation.

A Separation.

If you want a real test for Dunkirk, try watching it on your iPhone. Then try watching, say, A Separation – reviewed earlier here. Of course you should never watch a film on anything other than the largest screen with the finest sound system you can find. But two minutes into A Separation, you’ll be lost in the depths of its mesmerising story. Two minutes into Dunkirk you’ll be wondering if there’s anything happening on your Facebook page. Because if you’re watching a film on your iPhone, you’ll obviously be somebody who regularly checks up on their Facebook page.

You can see the trailer for the Beguiled here, and for Dunkirk here.

Sign up right or below for a subscription, and I shall keep you posted every month, on All the very best and worst in film, television and music!




Subscribe here for regular updates. And get your FREE GIFT of the first 2 chapters of my book, A Brief History Of Man.