Great Road Movies

Tumbling-Dice

Caf Nostradamus
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Feb 27, 2008
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Roy Keane has five kids, partly because of his Iri
1. Easy Rider

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The godfather of all road movies, 1969's Easy Rider was a truly groundbreaking film back in it's day. It tells the story of two bikers (played by Peter Fonda and Dennis Hopper) who travel through the American South and Southwest with the aim of achieving freedom.

Fonda, who also helped write the film with Hopper, did a superb job of adding into the mix Jack Nicholson's excellent character of George Hanson, a hard-drinking lawyer. The part of Hanson was a lucky break for Nicholson, the role had in fact been written for actor Rip Torn, who was a close friend of screen writer Terry Southern, but Torn withdrew from the project after a bitter argument with director Dennis Hopper, during which the two men almost came to blows. 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 actually being it.''

Nik, nik, nik, feck, feck, feck ......... Indians.

A landmark counterculture film and a touchstone for a generation that captured the national imagination, Easy Rider explores the societal landscape, issues, and tensions in the United States during the 1960s, such as the rise and fall of the hippie movement, drug use, and communal lifestyle. The film is noted for its use of real drugs in its portrayal of marijuana and LSD.

The movie's soundtrack features The Band, The Byrds, The Electric Prunes, The Jimi Hendrix Experience and Steppenwolf aswell as the seminal 'Don't Bogart That Joint My Friend Pass It Over To Me'. When Crosby, Stills and Nash viewed a rough cut of the film, they assured Hopper that they could not do any better than he already had. Bob Dylan was asked to contribute music, but was reluctant to use his own recording of "It's Alright, Ma (I'm Only Bleeding)", so a version performed by Byrds frontman Roger McGuinn was used instead. Also, instead of writing an entirely new song for the film, Dylan simply wrote out the first verse of “Ballad of Easy Rider” and told the filmmakers, “Give this to McGuinn, he’ll know what to do with it.” McGuinn completed the song and the song completed the film.

Easy Rider is a flawed masterpiece, a film that is not perfect but real. By the end it achieves something so great it overcomes its' flaws. It's also one hell of a trip.
 
2. Vanishing Point

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Another cult film made even more pleasurable by featuring a naked chick on a motorbike. Vanishing Point is a 1971 movie starring Barry Newman, Cleavon Little as DJ 'Super Soul' and a white 1970 Dodge Challenger.

Barry Newman plays a car delivery driver named Kowalski who works for Argo's Car Delivery Service in Denver, Colorado and is assigned to deliver the Dodge Challenger to San Francisco. Flashbacks which appear throughout the movie hint that he has lost everything he has ever wanted. He is a Vietnam veteran, a former law enforcement officer, former race car driver, and former motorcycle racer. He lost his job as a cop after being framed in a drug bust, perhaps in retaliation for him preventing his partner from raping a young girl.

It's basically a story built around a car chase but the speed is real, the noise is real and the soundtrack is superb ! A blind DJ at KOW Radio known as Super Soul who calls Kowalski "the last American hero" listens to the police radio frequencies and helps Kowalski to evade the ever increasing heat from the US police force aswell as spinning some top top tunes.

Vanishing Point is a unique requiem for a quickly dying age, a now all-but-disappeared one of truly open roads, endless speed for the joy of speed's sake, of big, solid no-nonsense muscle cars, of taking radical chances, of living on the edge in a colourful world of endless possibility. The film is seasoned with a large number and wide variety of all sorts of unusual characters but as with all great road movies it's all about the car, the desert, the music and the road.
 
3. Two-Lane Blacktop

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A time capsule film of U.S. Route 66 during the pre-Interstate Highway era notable for its stark footage and minimal dialogue. This 1971 film stars James Taylor (yes that James Taylor), Warren Oates, Laurie Bird (who went on to become Art Garfunkel's missus before tragically committing suicide at the age of 25) and the Beach Boy's Dennis Wilson but the cars are the real stars of the movie, a '55 Chevy 150 in battleship-grey primer and a stunning well oiled, muscled 1970 Pontiac GTO.

The film's premise involves two drag racers (played by Taylor and Wilson) who live on the road in their 1955 Chevy and drift from town to town, making their only income challenging local residents to races. The movie follows them driving east on Route 66 from Needles, California. They pick up a hitchhiker in Flagstaff, Arizona (played by Bird). In New Mexico, they encounter another drag racing drifter (played by Oates, driving an "Orbit Orange" 1970 Pontiac GTO Judge) and challenge him to a race for pinks. The characters are never identified by name in the movie, instead they are named "The Driver," "The Mechanic," "GTO," and "The Girl" which just adds to the film's charm.

Unlike other road movies of the time (such as "Easy Rider", and "Vanishing Point"), Two-Lane Blacktop does not rely heavily on music, nor was a soundtrack album released. The music featured in the film covers many genres, including Rock, Folk, Blues, Country, Bluegrass, and R&B. James Taylor and Dennis Wilson did not contribute any music. There are, however, some notable tracks featured in the film, including "Moonlight Drive" by The Doors, the traditional folk tune "Stealin'" performed by Arlo Guthrie, and the original version of "Me and Bobby McGee" performed by the song's author Kris Kristofferson (not the Janis Joplin version).

The sense of space in the film is incredible. It is immaculately crafted, funny and quite beautiful, resonant with a lingering mood of loss and loneliness. Not a single frame in the film is wasted, even the small touches, the languid tension while refueling at a back-country gas station or the piercing sound of an ignition buzzer have their own intricate worth. It is a movie of achingly eloquent landscapes and absurdly inert characters, it starts off as a narrative but gradually grows into something much more abstract, it's unsettling but also quite stunning.
 
4. Electra Glide in Blue

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The seventies was a decade so overpopulated with great films that hundreds of truly great films went unheralded, and "Electra Glide in Blue" is one of these, sadly the singular film directed by the former Chicago manager, who penned the superb "Tell Me" sung by Terry Kath that plays at the end of the film. Like many late sixties/early seventies films the plot is insignificant, but rather a vehicle for lots of character development and social commentary. Blake is great as Wintergreen and the Conrad Hall cinematography is simply stunning, with the haunting lyricism of the ending beholding one of the finest closing shots in the history of cinema. Somewhere between the poetry of "Zabriskie Point " and "Easy Rider" (which it is frequently compared to but in many ways is the antithesis of) and the downbeat cop dramas that would follow during the decade like "The New Centurions" exists "Electra Glide in Blue", a gem certainly worthy of being rediscovered.

Electra Glide in Blue is a 1973 film starring Robert Blake as a motorcycle cop in Arizona and Billy Green Bush as his partner. The movie was filmed in Monument Valley and around Fountain Hills Arizona on the Shea and Bee Line Highway. It was produced and directed by James William Guercio (who is best known as the producer of Chicago's first eleven albums aswell as band manager). The film was entered into the 1973 Cannes Film Festival, but was loathed by critics. However, it garnered a great deal of critical acclaim upon its nationwide release. Overall, it saw only limited commercial success.

Several members of Chicago appear in minor roles, including Peter Cetera, Terry Kath, Lee Loughnane and Walter Parazaider, as well as David "Hawk" Wolinski from the Guercio-produced band Madura. Chicago also appear on the movie soundtrack.

The film is gorgeously photographed and extremely creatively directed. It is way ahead of its time in terms of camera-work. The texture and atmosphere of the scenes is beyond most of what is cranked out today. It's also loaded with quirkiness and irony (some might say overloaded). In any case, it's a unique viewing experience with many rewards for the patient and incisive viewer. There's also a motorcycle chase that rivals any of the best from this period.
 
5. Duel

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Duel is a 1971 television movie about a motorist (played by Dennis Weaver) on a remote and lonely road being stalked by a large tanker truck and its almost unseen driver. It was the first feature film directed by Steven Spielberg and was written by Richard Matheson based on his own short story.

The car was carefully chosen, a red 1971 Plymouth Valiant with an underpowered engine. Its red color was also intentional, Spielberg didn't care what kind of car was used in the film but wanted it to be a red car to enable the vehicle to stand out in the wide shots of the desert highway.
Steven Spielberg had what he called an "audition" for the truck, where he viewed a series of trucks to choose the one for the film. He selected the older 1955 Peterbilt 281 over the then-current flat-nosed 'forward control' style of trucks because the long hood of the Peterbilt, coupled to its split windscreens and round headlights gave it more of a 'face', adding to the menacing personality. A clever touch was the effect of never seeing the driver's face making the real villain of the film the truck itself, rather than the driver.

All in all a gleefully sadistic little thriller. Though the young Mr. Spielberg's hand is evident in many places (the economic storytelling style, the visual wit), the film's tone probably owes more to screenwriter (and 'Twilight Zone' veteran) Richard Matheson. The story has all the itchy paranoia of Matheson's best work, with Dennis Weaver's fussy little city man confronted by Tex-Mex suspicion at best, and relentless, illogical horror at worst, as he travels from one oasis of civilization to another for an important meeting. 'Duel' is essentially a city-slicker's nightmare, concentrating collective fears of wilderness and the mad souls who choose to dwell there. But at the same time it lightly satirizes those urbanite attitudes, and Weaver's Mann is often made to look laughable, with his silly necktie, and his little Plymouth Valiant, and his prissy, civilized approach to his problem. Spielberg revels in the black comic elements of Matheson's narrative, and the result is the perfect suspense/thriller tone, that is one never knows whether to laugh or scream. If the story lags a bit towards the end, and if the conclusion is rather a simple one, the film is still a model of economy and tone, and it features one of the most memorable villains in suspense-film history - one that weighs forty tons.
 
6. Death Race 2000

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Death Race 2000 is a 1975 cult science fiction action film directed by Paul Bartel, and starring David Carradine, Simone Griffeth and Sylvester Stallone. The movie takes place in a dystopian American society in the year 2000, where the murderous Transcontinental Road Race has become a form of national entertainment. The screenplay is based on the short story "The Racer" by Ib Melchior.

The film features a modified Fiat 850 Spider, a modified VW Karmann-Ghia resembling a V1 Flying bomb and a Chevy Corvette amongst others and should be a hit with caftards as it features unnecessarily gratuitous nudity and violence.

The movie has long been regarded as a cult hit and was often viewed as superior to Rollerball, made in the same year, another dystopian science fiction sports film similarly focusing on the use of sports as an "opiate".
 
7. Death Proof

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With Death Proof (2007), Tarantino creates a loving homage to a notoriously cult cinematic sub-culture. The film purposely goes out of its way to ape the style of late 60's and early 70's exploitation cinema in look, feel and content. The film isn't meant to be taken entirely seriously, but rather, is a parody and/or pastiche of the kind of films that the vast majority of mainstream audiences simply wouldn't want to see. Films such as Two-Thousand Maniacs (1964), Ride the Whirlwind (1965), Manos: The Hands of Fate (1966), Satan's Sadists (1968), The Big Bird Cage (1971), Boxcar Bertha (1972), Fight for Your Life (1977) or Satan's Cheerleaders (1977), low-budget films made with often-non-professional actors, little in the way of conventional film logic, and highly controversial in terms of plot, theme and content.

It also sets out to pastiche the "grindhouse" cinema phenomena, with the original idea of two films being shown as a double feature at drive-in movie theatres from state to state, with both films often being re-cut and re-edited, not by the filmmakers, but by the theatre owners themselves. This is evident in the amusing switch in title; with the film opening with the caption 'Quentin Tarantino's Thunderbolt', before awkwardly cutting to an obviously out of place title card with 'Death Proof' crudely emblazoned across the screen. This is also the explanation for the purposeful mistakes in continuity, the sloppy editing and the switch between colour and black and white, as well as the façade of severely deteriorating film stock. It's not sloppy film-making, but rather, a purposeful appropriation of sloppy film-making geared towards appealing to the kind of obsessive movie aficionado who gets the references and can appreciate the joke that Tarantino is attempting to pull.

The film references and pays homage to many of the films I've listed in above posts, Vanishing Point, Duel, Two-Lane Blacktop. Much maligned by many but when taken in context it's a quite exhilarating, one-off piece of film-making.
 
8. Wild at Heart

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Recipient of the prestigious Palme d'Or award at Cannes (as was Easy Rider I think), David Lynch's "Wild at Heart" is an amazingly brilliant spectacle for the senses. Bold splashes of deep red, curiously staged musical numbers (Nicolas Cage does his own singing – and he's actually not bad), and the continuous references to "The Wizard of Oz" help create a surreal and dreamlike texture to the narrative.

Other stand out performances come from the likes of Laura Dern (tits oot !) Harry Dean Stanton, Willem Dafoe, Diane Ladd and Isabella Rosselini.

Gut wrenchingly violent in places, hopelessly romantic in others, Lynch crafted an adult fairy tale recommended to those who enjoy and appreciate abstract methods of film-making. Quirky, funny, brutal, all in all pretty good.
 
9. Paris, Texas

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Paris, Texas is a moody and delicate study about a man who once ran away from everything and now is coming to terms with himself and learning to forgive himself by finally facing the people he turned his back on.

It might seem odd to call this an "American" film as its director, Wim Wenders is a German film director who unlike his predecessors, Lang, Murnau, Pabst, Von Sternberg and Billy Wilder, has chosen to remain aloof from the Hollywood film industry. But Paris Texas is as much an American film as Tocquevillle's "Democracy in America" is an American book. Sometimes it takes a foreigner (in Wim Wenders' case, a foriegner who loves American music, American movies and American literature) to look into the American soul. In this case it helps that he is working with a great (and misunderstood) American writer, Sam Shephard, and a great (and under appreciated) American actor, Harry Dean Stanton.

Paris, Texas is poetic and haunting and presents the extremes of love, pain, and loss with immediacy and ruthless candor. It's also a visual masterpiece, something Nastassja Kinski only enhances.
 
These weren't bad too, Tumbs:

Planes, Trains, and Automobiles
O Brother, Where Art Thou
Duel.
 
O Brother, Where Art Thou is one of my favourite films.


I, Am a man! O-oh Of Constant Sorrow!
 
You Drive Me Crazy: A dark comedic trip through one man's obsession.
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How Many roads Must A Man Walk Down: A possibly estranged father and daughter are thrown together and forge an unlikely partnership.
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Road Rage: Gelsomina and cruel master Zampano take their act on the road in a journey to despair and loss.
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Roads?.. Where we're going we don't need roads: It's Jerome K. Jerome meets Joseph Conrad in this trip up river. Redux is the better road movie.
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Paved with good intentions: A slow journey across country on a lawnmower. It's that good!
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Final Destination 5: A journey of self reflection and acceptance of the ultimate destination.
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Some great choices there dumbo. I'm definitely going to have to check out 'The Straight Story' if I can get hold of a copy.

make sure you do, its a fecking belter of a film, watching it just makes you feel...well...basically...good.

superb soundtrack too.
 
I have no idea if it counts but when I saw the thread From Dusk Till Dawn popped into my head.
 
some great road movies not mentioned:

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and one of my personal favourites
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1. Easy Rider

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3975_Easy-Rider-2_383.jpg


The godfather of all road movies, 1969's Easy Rider was a truly groundbreaking film back in it's day. It tells the story of two bikers (played by Peter Fonda and Dennis Hopper) who travel through the American South and Southwest with the aim of achieving freedom.

Fonda, who also helped write the film with Hopper, did a superb job of adding into the mix Jack Nicholson's excellent character of George Hanson, a hard-drinking lawyer. The part of Hanson was a lucky break for Nicholson, the role had in fact been written for actor Rip Torn, who was a close friend of screen writer Terry Southern, but Torn withdrew from the project after a bitter argument with director Dennis Hopper, during which the two men almost came to blows. 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 actually being it.''

Nik, nik, nik, feck, feck, feck ......... Indians.

A landmark counterculture film and a touchstone for a generation that captured the national imagination, Easy Rider explores the societal landscape, issues, and tensions in the United States during the 1960s, such as the rise and fall of the hippie movement, drug use, and communal lifestyle. The film is noted for its use of real drugs in its portrayal of marijuana and LSD.

The movie's soundtrack features The Band, The Byrds, The Electric Prunes, The Jimi Hendrix Experience and Steppenwolf aswell as the seminal 'Don't Bogart That Joint My Friend Pass It Over To Me'. When Crosby, Stills and Nash viewed a rough cut of the film, they assured Hopper that they could not do any better than he already had. Bob Dylan was asked to contribute music, but was reluctant to use his own recording of "It's Alright, Ma (I'm Only Bleeding)", so a version performed by Byrds frontman Roger McGuinn was used instead. Also, instead of writing an entirely new song for the film, Dylan simply wrote out the first verse of “Ballad of Easy Rider” and told the filmmakers, “Give this to McGuinn, he’ll know what to do with it.” McGuinn completed the song and the song completed the film.

Easy Rider is a flawed masterpiece, a film that is not perfect but real. By the end it achieves something so great it overcomes its' flaws. It's also one hell of a trip.

RIP my friend.

I will never tire of this movie.
 
make sure you do, its a fecking belter of a film, watching it just makes you feel...well...basically...good.

superb soundtrack too.

I watched this a few months ago, belter indeed !!

I did a bit of reading up on The Straight Story at the time, how Richard Farnsworth was a big stuntman back in the day and how he was dying when he made the film hence he was in almost constant pain when shooting the scenes.

Cheers for the tip-off, a masterpiece indeed, some of Alvin's lines are brilliant.