“Easy Rider” directed by Dennis Hopper, produced by Peter Fonda and written by Peter Fonda, Dennis Hopper and Terry Southern was a shameful budget film ($340 sizable) that surprisingly became a box office atomize. The chronicle is about two hippys (Fonda & Hopper) who take choppers with cash they’ve gotten from a drug deal. They trip obnoxious country heading to Louisianna (to Mardi Gras) and on their map meeting different people, visiting a commune of hippys, ending up in jail, going to a brothel, taking acid etc. The ending was disturbing in 1969 and smooth is, even in these days of non-stop violence in our country. This 35th Anniversary Edition is identical to the regular dvd version of “Easy Rider” with the real same bonus material “The Making-Of Documentary “Easy Rider: Shaking The Cage” (feat. interviews with Fonda, Hopper, etc.) and an audio commentary by Dennis Hopper plus production notes. The bonuses for this 35th Anniversary Edition are a cd which includes eight songs (do not confuse this cd with the precise “Easy Rider Soundtrack” as it is not) . The songs are “Born To Be Wild” – Steppenwolf, “The Weight” – Smith, “Nights In White Satin” – The Morose Blues, “Wasn’t Born To Follow” – The Byrds, “San Francisco Nights” – Eric Burden And The Animals, “The Pusher” – Steppenwolf, “It’s Alright Ma (I’m Only Bleeding) ” – Roger McGuinn and “Bag Together” – The Youngbloods. The 80 page book “Easy Rider” by Lee Hill is lively and includes all you’ll ever want to know about the film. The bottom line is, if you already maintain the regular dvd of “Easy Rider” I’d pass on this 35th Anniversary Edition. Of course, if you don’t maintain this classic film it may be worth the extra cash for the bonus cd and book.
I bought this title because I am a motorcyclist. If you have never ridden one and want to know what it is like, this movie will select you on a virtual road dart from Los Angeles through fair mountain scenery down to Mardi Gras in Novel Orleans. The two stars, Peter Fonda (Wyatt) and Dennis Hopper (Billy), head out on the highway to the motorcycle anthem, “Born to Be Wild” by Steppenwolf, and there are some wonderful camera shots of them crossing the Colorado River. If that scene doesn’t regain your blood pumping, then you can be assured that motorcycling isn’t for you.
There’s a lot more to this movie than objective scenic motorcycling and sixties music. A typical biker movie has a traditional dwelling, usually spellbinding some gang terrorizing the local community. Before creating this movie, Fonda and Jack Nicholson (George), as well as some of the other cast members all appeared in such flicks. By difference, “Easy Rider” is really a mold-breaker for its type, because it involves a lot of social commentary.
Early in the movie, Billy and Wyatt recall up a stranger along the highway, who turns out to be the leader of a commune. He is a lifeless ringer for John Lennon, when he had his Sgt. Pepper peer. Wyatt and the stranger collect along well, but Billy is suspicious of the hitchhiker. They remove him assist to his commune and hang out for awhile there with the people. Wyatt fits in OK, but Billy is not generally respected. Many of them build fun of Billy. For some time, this was very hard for me to story for, since Billy is a freak.
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I did not regain any insights into this until I read the book, “Riders On the Storm” by Doors’ drummer, John Densmore. In it, he explains how the Doors, who were from Los Angeles, were not invited to play the Monterey Pop Festival. San Francisco flower power was about peace and like, and Jim Morrison, the lead singer, gave off an aggressive vibe. Densmore also said that some noted flower power musicians did not want to be publicly associated with The Doors. For instance, John Sebastian agreed to play harmonica on “Roadhouse Blues,” but he would not allow his true name to be obsolete in the credits. I fill that the disagreement in values between Los Angeles and San Francisco is crucial to view why Billy was rejected by the commune members.
Wyatt and Billy are not from San Francisco, and they do not wear psychedelic clothing. They hail from Los Angeles, and they are preoccupied with freedom–not peace and adore. Billy has a dependable aggressive vibe to him. He is very confrontational, and he doesn’t accept along well with others. Wyatt is more of a seeker. He is open-minded and enthusiastic in what other people have to offer. They’re both rich, but not through correct or reputable means. They smuggled some cocaine across the border from Baja, Mexico, and then they sold it for a immense profit. The two are friends, and they seem to have approved each others strengths and weaknesses.
The movie makes some sure statements about sixties social values and morals. In other cases, it brings up issues, but doesn’t come any firm conclusions. The movie ends tragically, but it isn’t an indictment of flower power. Billy had rejected peace and worship, and had he not reacted in the confrontational manner that he did, things might have turned out differently. This movie is about the tradgedy and failure of hate–and the need for peace, care for, and plan. I give this movie a five-star rating because it documents the issues of the times so effectively. As a motorcycle movie, this production is practically unbeatable because it has captured the spirit of motorcycling so well.
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