|Directed by||Dennis Hopper|
|Produced by||Peter Fonda|
|Written by||Peter Fonda
The Holy Modal Rounders
Fraternity of Man
The Electric Flag
The Jimi Hendrix Experience
The Electric Prunes
|Edited by||Donn Cambern|
Pando Company Inc.
|Distributed by||Columbia Pictures|
|Box office||$60 million|
Easy Rider is a 1969 American road movie written by Peter Fonda, Dennis Hopper, and Terry Southern, produced by Fonda and directed by Hopper. It tells the story of two bikers (played by Fonda and Hopper) who travel through the American Southwest and South. The success of Easy Rider helped spark the New Hollywood phase of filmmaking during the early 1970s. The film was added to the Library of Congress National Registry in 1998.
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. In Easy Rider, real drugs were used in scenes showing the use of marijuana and other substances.
The protagonists are two freewheeling hippies: Wyatt (Fonda), nicknamed "Captain America", and Billy (Hopper). Fonda and Hopper said that these characters' names refer to Wyatt Earp and Billy the Kid. Wyatt dresses in American flag-adorned leather (with an Office of the Secretary of Defense Identification Badge affixed to it), while Billy dresses in Native American-style buckskin pants and shirts and a bushman hat. The former is appreciative of help and of others, while the latter is often hostile and leery of outsiders.
After smuggling cocaine from Mexico to Los Angeles, Wyatt and Billy sell their contraband to "Connection," a man (played by Phil Spector) in a Rolls-Royce, and score a large sum of money. With the money from the sale stuffed into a plastic tube hidden inside the Stars & Stripes-adorned fuel tank of Wyatt's California-style chopper, they ride eastward in an attempt to reach New Orleans, Louisiana, in time for Mardi Gras.
During their trip, Wyatt and Billy meet and have a meal with a rancher, whom Wyatt admires for his simple, traditional farming lifestyle. Later, the duo pick up a hitch-hiker (Luke Askew) and agree to take him to his commune, where they stay for a day. Life in the commune appears to be hard, with young hippies from the city struggling to grow their own crops in a dry climate with poor soil and little rainfall. (One of the children seen in the commune is played by Fonda's four-year-old daughter Bridget). At one point, the bikers witness a prayer for blessing of the new crop, as put by a communard: A chance "to make a stand", and to plant "simple food, for our simple taste". The commune is also host to a traveling theater group that "sings for its supper" (performs for food). The notion of "free love" appears to be practiced, with two women seemingly sharing the affections of the hitch-hiking communard and then turning their attention to Wyatt and Billy. The hitch-hiker wants the two bikers to stay at the commune, saying, "the time is now", to which Wyatt replies "I'm hip about time...but I just gotta go." As the bikers leave, the hitch-hiker (known only as "Stranger on highway" in the credits) gives Wyatt some LSD for him to share with "the right people".
Later, while jokingly riding along with a parade in a small town, the pair are arrested by the local authorities for "parading without a permit" and thrown in jail. There, they befriend American Civil Liberties Union lawyer and local drunk George Hanson (Jack Nicholson) who has spent the night in jail after overindulging in alcohol. George helps them get out of jail, and decides to travel with Wyatt and Billy to New Orleans. As they camp that night, Wyatt and Billy introduce George to marijuana. As an alcoholic and a "square", George is reluctant to try the marijuana ("It leads to harder stuff", and "I don't want to get hooked"), but he quickly relents.
While attempting to eat in a small rural Louisiana restaurant, the trio's appearance immediately attracts the attention of the locals. The girls in the restaurant want to meet the men and ride with them, but the local men and police officer make mocking, racist, and homophobic remarks. One of the men menacingly states, "I don't believe they'll make the parish line." As the waitress does not take their order Wyatt, Billy, and George leave without eating and make camp outside of town. The events of the day cause George to comment: "This used to be a hell of a good country. I can't understand what's gone wrong with it." He observes that Americans talk a lot about the value of freedom, but are actually afraid of anyone who truly exhibits it.
In the middle of the night, the local men find the trio asleep and brutally assault them with clubs. Billy manages to scare off the attackers by yelling and brandishing a knife. Wyatt and Billy suffer minor injuries, but George has been fatally beaten. Wyatt and Billy wrap George's body up in his sleeping bag, gather his belongings, and vow to return the items to his parents.
They continue to New Orleans and find a brothel George had intended to visit. Taking prostitutes Karen (Karen Black) and Mary (Toni Basil) with them, Wyatt and Billy decide to go outside and wander the parade-filled street of the Mardi Gras celebration. They end up in a cemetery, where all four ingest the LSD which the hitch-hiker had earlier given to Wyatt. They experience a psychedelic bad trip infused with Catholic prayer represented through quick edits, sound effects, and over-exposed film.
Making camp afterward, Billy declares that their trek has been a success. Wyatt disagrees, declaring, "We blew it." The next morning, the two are continuing their trip eastward to Florida (where they hope to retire wealthy) when two rednecks in a pickup truck spot them and decide to "scare the hell out of them" with their shotgun. As they pull alongside Billy, one of the men lazily aims the shotgun at him and threatens and insults him by saying, "Want me to blow your brains out?" and "Why don't you get a haircut?" When Billy flips his middle finger up at them, the hillbilly fires the shotgun at Billy, who immediately hits the pavement, seriously wounded in the side. As the truck then takes off past Wyatt down the road, Wyatt turns around and races back to put his jacket over his critically injured friend, who is already covered in blood, before riding off for help. By this time, the pickup truck has turned around and closes on Wyatt. The hillbilly fires at Wyatt as he speeds by the pickup, hitting the bike's gas tank and causing it to instantly erupt into a fiery explosion. Wyatt lands by the side of the road, apparently dead. As the murderous rednecks drive away, the film ends with a shot of the flaming bike in the middle of the deserted road, as the camera ascends to the sky.
House of Blue Lights
Hopper and Fonda's first collaboration was in The Trip (1967), written by Jack Nicholson, which had similar themes and characters as Easy Rider. Peter Fonda had become "an icon of the counterculture" in The Wild Angels (1966), where he "establish[ed] a persona he would develop further in The Trip and Easy Rider." The Trip also popularized LSD, while Easy Rider went on to "celebrate 60s counterculture" but does so "stripped of its innocence." Author Katie Mills wrote that The Trip is a way point along the "metamorphosis of the rebel road story from a Beat relic into its hippie reincarnation as Easy Rider", and connected Peter Fonda's characters in those two films, along with his character in The Wild Angels, deviating from the "formulaic biker" persona and critiquing "commodity-oriented filmmakers appropriating avant-garde film techniques." It was also a step in the transition from independent film into Hollywood's mainstream, and while The Trip was criticized as a faux, popularized underground film made by Hollywood insiders, Easy Rider "interrogates" the attitude that underground film must "remain strictly segregated from Hollywood." Mills also wrote that the famous acid trip scene in Easy Rider "clearly derives from their first tentative explorations as filmmakers in The Trip."
When seeing a still of himself and Bruce Dern in The Wild Angels, Peter Fonda had the idea of a modern Western, involving two bikers travelling around the country and eventually getting shot by hillbillies. He called Dennis Hopper, and the two decided to turn that into a movie, The Loners, with Hopper directing, Fonda producing, and both starring and writing. They brought in screenwriter Terry Southern, who came up with the title Easy Rider. The film was mostly shot without a screenplay, with ad-libbed lines, and production started with only the outline and the names of the protagonists. Keeping the Western theme, Wyatt was named after Wyatt Earp and Billy after Billy the Kid.
During test shooting on location in New Orleans, Hopper fought with the production's ad hoc crew for control. At one point he entered into a physical confrontation with photographer Barry Feinstein, who was one of the camera operators for the shoot. After this turmoil, Hopper and Fonda decided to assemble a proper crew for the rest of the film.
Allegedly, the characters of Wyatt and Billy were respectively based on Roger McGuinn and David Crosby of The Byrds. According to Terry Southern's biographer, Lee Hill, the part of George Hanson had been written for Southern's friend, actor Rip Torn. When Torn met with Hopper and Fonda at a New York restaurant in early 1968 to discuss the role, Hopper began ranting about the "rednecks" he had encountered on his scouting trip to the South. Torn, a Texan, took exception to some of Hopper's remarks, and the two almost came to blows, as a result of which Torn withdrew from the project. Torn was replaced by Jack Nicholson, whom Hopper had recently appeared with in Head (along with another Easy Rider co-star, Toni Basil). In 1994, Jay Leno interviewed Hopper about Easy Rider on The Tonight Show, and during the interview, Hopper alleged that Torn had pulled a knife on him during the altercation, prompting Torn to sue Hopper successfully for defamation.
A short clip near the beginning of the film shows Wyatt and Billy on Route 66 in Flagstaff, Arizona, passing a large figure of a lumberjack. That lumberjack statue—once situated in front of the Lumberjack Cafe—remains in Flagstaff, but now stands inside the J. Lawrence Walkup Skydome on the campus of Northern Arizona University. A second, very similar statue was also moved from the Lumberjack Cafe to the exterior of the Skydome.
Most of the film is shot outside with natural lighting. Hopper said all the outdoor shooting was an intentional choice on his part, because "God is a great gaffer." The production used two five-ton trucks, one for the equipment and one for the motorcycles, with the cast and crew in a motor home. One of the locations was Monument Valley.
The restaurant scenes with Fonda, Hopper, and Nicholson were shot in Morganza, Louisiana. The men and girls in that scene were all Morganza locals. In order to inspire more vitriolic commentary from the local men, Hopper told them the characters of Billy, Wyatt, and George had raped and killed a girl outside of town. The scene in which Billy and Wyatt were shot was filmed on Louisiana Highway 105 North, just outside of Krotz Springs, and the two other men in the scene—Johnny David and D.C. Billedeau—were Krotz Springs locals.
While shooting the cemetery scene, Hopper tried to convince Fonda to talk to the statue of the Madonna as though it were Fonda's mother (who had committed suicide when he was 10 years old) and ask her why she left him. Although Fonda was reluctant, he eventually complied. Later, Fonda used the inclusion of this scene as leverage to persuade Roger McGuinn to allow the use of his cover of Bob Dylan's "It's Alright, Ma (I'm Only Bleeding)".
Despite being filmed in the first half of 1968, roughly between Mardi Gras and the assassination of Robert F. Kennedy, with production starting on February 22 the film did not have a U.S. premiere until July 1969, after having won an award at the Cannes film festival in May. The delay was partially due to a protracted editing process. Inspired by 2001: A Space Odyssey', one of Hopper's proposed cuts was 220 minutes long, including extensive use of the "flash-forward" narrative device, wherein scenes from later in the movie are inserted into the current scene. But only one flash-forward survives in the final edit: when Wyatt in the New Orleans brothel has a premonition of the final scene. At the request of Bob Rafelson and Bert Schneider, Henry Jaglom was brought in to edit the film into its current form, while Schneider purchased Hopper a trip to Taos so he would not interfere with the recut. Upon seeing the final cut, Hopper was originally displeased, saying that his movie was "turned into a TV show", but he eventually accepted, claiming that Jaglom had crafted the film the way Hopper had originally intended. Despite the large part he played in shaping the film, Jaglom only received credit as an "Editorial Consultant".
There are various reports about exact running time of original rough cut of the movie; Four hours, four and a half hours, or five hours. All deleted footage is believed to be lost. Some of the scenes which were in original cut but got deleted are: Original opening showing Wyatt and Billy performing in a Los Angeles stunt show (their real jobs), two of them being ripped off by the promoter, getting in a biker fight, picking up women at a drive-in, cruising to and escaping from Mexico to score the cocaine they sell, elaborate police and helicopter chase that took place at the beginning after the dope deal with police chasing Wyatt and Billy over mountains and across the Mexican border, the road trip out of L.A. edited to the full length of Steppenwolf's Born to Be Wild with billboards along the way offering wry commentary, Wyatt and Billy being pulled over by cop while driving their motorcycles across highway, two of them encountering the black motorcycle gang, ten additional minutes for the volatile café scene in Louisiana where George deftly keeps the peace, Wyatt and Billy checking in hotel before going over to Madam Tinkertoy's, extended and much longer Madam Tinkertoy sequence, extended versions of all the campfire scenes including the enigmatic finale in which Wyatt says "We blew it, Billy".
Easy Rider’s style — the jump cuts, time shifts, flash forwards, flashbacks, jerky hand-held cameras, fractured narrative and improvised acting — can be seen as a cinematic translation of the psychedelic experience. Peter Biskind, author of Easy Riders, Raging Bulls wrote: "LSD did create a frame of mind that fractured experience and that LSD experience had an effect on films like Easy Rider".
The motorcycles for the film, based on hardtail frames and panhead engines, were designed and built by two African-American chopper builders—Cliff Vaughs and Ben Hardy—following ideas of Peter Fonda, and handled by Tex Hall and Dan Haggerty during shooting.
In total, four former police bikes were used in the film. The 1949, 1950 and 1952 Harley Davidson Hydra-Glide bikes were purchased at an auction for $500, equivalent to about $3400 in current money. Each bike had a backup to make sure that shooting could continue in case one of the old machines failed or got wrecked accidentally. One "Captain America" was demolished in the final scene, while the other three were stolen and probably taken apart before their significance as movie props became known. The demolished bike was rebuilt by Dan Haggerty and shown in a museum. He sold it at an auction in 2001. It now resides at the National Motorcycle Museum in Anamosa, Iowa. Many replicas have been built since the film’s release.
Hopper and Fonda hosted a wrap party for the movie and then realized they had not shot the final campfire scene. Thus, it was shot after the bikes had already been stolen, which is why they are not visible in the background as in the other campfire scenes.
Awards and honors
Hopper received the First Film Award (Prix de la première œuvre) at the 1969 Cannes Film Festival. At the 42nd Academy Awards, Jack Nicholson was nominated for Best Actor in a Supporting Role, and the film was also nominated for Best Original Screenplay.
The film appears at number 88 on the American Film Institute's list of 100 Years, 100 Movies. In 1998, Easy Rider was added to the United States National Film Registry, having been deemed "culturally, historically, or aesthetically significant."
A box office smash with a $60-million intake, of which $41.7 million was domestic gross, it became the third highest grossing film of 1969. Along with Bonnie and Clyde and The Graduate, Easy Rider helped kick-start the New Hollywood phase during the late 1960s and early 1970s. The major studios realized that money could be made from low-budget films made by avant-garde directors. Heavily influenced by the French New Wave, the films of the so-called "post-classical Hollywood" came to represent a counterculture generation increasingly disillusioned with its government as well as the government's effects on the world at large, the Establishment. Although Jack Nicholson appears only as a supporting actor and in the last half of the film, the standout performance signaled his arrival as a movie star, along with his subsequent film Five Easy Pieces in which he had the lead role. Vice President Spiro Agnew criticized Easy Rider, along with the band Jefferson Airplane, as examples of the permissiveness the 1960s counterculture.
The film's success, and the new era of Hollywood that it helped usher in, gave Hopper the chance to direct again with complete artistic control. The result was 1971's The Last Movie, which was a notable box office and critical failure, effectively ending Hopper's career as a director for well over a decade.
The movie's "groundbreaking" soundtrack featured The Band, The Byrds, The Jimi Hendrix Experience and Steppenwolf. Editor Donn Cambern used various music from his own record collection to make watching hours of bike footage more interesting during editing. Most of Cambern's music was used, with licensing costs of $1 million, more than the film's budget. When CSN 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 performed it in the film.
The film was released by The Criterion Collection in November 2010 as part of the box set America Lost and Found: The BBS Story. It included two audio commentaries, one featuring actor-director-writer Dennis Hopper, the other Hopper, actor-writer Peter Fonda, and production manager Paul Lewis, Born to Be Wild (1995) and “Easy Rider”: Shaking the Cage (1999), documentaries about the making and history of the film, television excerpts showing Hopper and Fonda at the Cannes Film Festival, and a new video interview with BBS cofounder Steve Blauner.
In 2013, a revisionist history sequel to the movie was released titled Easy Rider: The Ride Back, directed by Dustin Rikert. The film is about the family of Wyatt "Captain America" Williams from the 1940s to the present day.
- List of films featuring hallucinogens
- American Dream
- Hippie exploitation films
- Method acting
- Outlaw biker film
- Easy Rider, Worldwide Box Office Gross. Worldwide Box Office. Retrieved July 18, 2014.
- "Peter Fonda's Easy Rider auction". Boing Boing. 2007-09-16. Retrieved 2008-10-18.
- "Born to be a classic: "Easy Rider" was a touchstone for a generation and for American filmmaking". St. Louis Post-Dispatch. 2001-07-29. Retrieved 2008-10-19.
- Interviews in Easy Rider: Shaking the Cage at the Internet Movie Database. A Making-of documentary.
- Mills, Katie (2006), The Road Story and the Rebel: Moving Through Film, Fiction, and Television, Southern Illinois University Press, pp. 122–123, ISBN 9780809388172, retrieved December 22, 2013
- Laderman, David (2010), Driving Visions: Exploring the Road Movie, University of Texas Press, pp. 143–144, ISBN 9780292777903, retrieved December 22, 2013
- Boyd, Susan C., Hooked: Drug War Films in Britain, Canada, and the United States, University of Toronto Press, p. 68, retrieved December 22, 2013
- Biskind, Peter (1998). Easy Riders, Raging Bulls. Simon and Schuster.
- Walker, Michael. Laurel Canyon: The Inside Story of Rock and Roll's Legendary Neighborhood. New York: Faber and Faber, 2006, p. 210.
- "Head (1968) - Full Cast & Crew". IMDb. Retrieved 2014-01-13.
- Fisher, Bob (June 22, 2004). "Easy Rider: 35 Years Later; László Kovács on the 35th anniversary of Easy Rider". Moviemaker.com. Archived from the original on February 11, 2012. Retrieved 2008-10-19.
- "Meet the Characters: LouieII". rightpalmup.com. Retrieved 2010-12-03.
- "Meet the Characters: Louie". rightpalmup.com. Retrieved 2010-12-03.
- "MovieMaker Magazine". Moviemaker.com. Retrieved 2011-01-31.
- Whalen, John (1 July 1998). "The Trip". LA Weekly. Archived from the original on 6 December 2013. Retrieved 2014-01-13.
- Custom Culture, Harley-Davidson Museum, 2012
- Black Chrome. The California African American Museum, Los Angeles, 2009
- Behind The Motorcycles In 'Easy Rider,' A Long-Obscured Story. NPR, 2014
- Wasef, Basem; Leno, Jay (2007), Legendary Motorcycles: The Stories and Bikes Made Famous by Elvis, Peter Fonda, Kenny Roberts and Other Motorcycling Greats, MotorBooks International, pp. 47–52, ISBN 0-7603-3070-0, retrieved 2011-08-29
- "Festival de Cannes: Easy Rider". festival-cannes.com. Retrieved 2009-04-05.
- "Box Office Information for Easy Rider". The Numbers. Retrieved February 26, 2012.
- Canby, Vincent. "Easy Rider (1969)". The New York Times. Retrieved 2008-10-18.
- Patterson, James T. (1996), Grand Expectations: The United States, 1945-1974, Oxford University Press, ISBN 9780195076806, retrieved January 15, 2015
- "The greatest week in rock history". Salon. 2003-12-19. Retrieved 2008-10-19.
- "Easy Rider". The Criterion Collection.
- Easy Rider: The Ride Back at the Internet Movie Database
- Aldaz, Gabriel (2010). Right Palm Up, Left Palm Down: The Log of a Cross-Country Scavenger Hunt. SparkWorks. ISBN 978-0-9703407-7-1.
- Carr, Jay; National Society of Film Critics (2002). The A List: The National Society of Film Critics' 100 Essential Films. Da Capo Press. ISBN 0-306-81096-4.
- Easy Rider Bibliography (via UC Berkeley)
- Hill, Lee (1996). Easy Rider. British Film Institute. ISBN 0-85170-543-X.
- Hoberman, J.. Criterion Collection Essay
- Klinger, Barbara (1997). "The Road to Dystopia: Landscaping the Nation in Easy Rider". In Steven Cohan, Ina Rae Hark. The Road Movie Book. New York: Routledge. ISBN 0-415-14936-3.
- Lev, Peter (2000). American Films of the 70s: Conflicting Visions. University of Texas Press. ISBN 0-292-74716-0.
- Osgerby, Bill (2005). Biker: Truth and Myth: How the Original Cowboy of the Road Became the Easy Rider of the Silver Screen. Globe Pequot. ISBN 1-59228-841-3.
- Phipps, Keith. (November 16, 2009) Slate.com. The Easy Rider Road Trip: Retracing the Path of the Iconic Movie on Its 40th Anniversary
- Zoller Seitz, Matt. Criterion Collection Essay
|Wikiquote has quotations related to: Easy Rider|
|Wikimedia Commons has media related to Easy Rider (film).|