Two-Lane Blacktop
Two Lane Blacktop seems to me to be less selfconsciously hip and with it,
even if it is very hip and with it.
But Vanishing Point is the one that wigs me out.
At the time of VP’s release, it may have been reasonable to regard
Sarafian’s counterculture road picture/instant cult classic as a blend of
Michelangelo Antonioni’s Zabriskie Point and Dennis Hopper’s Easy Rider.
Seen today, it brings to mind Smokey and the Bandit and Billy Jack.
That’s probably the most we can expect from what amounts to an existential hot-rod picture,
although it is understandable that this film enjoyed a long, prosperous life at the nation’s drive-ins.
(I was there)
Who doesn’t love a rich stew of extended car chase, bizarre characters,
and a gritty rock/gospel soundtrack including Delaney and Bonnie,
Big Mama Thornton, and Mountain, who perform “Mississippi Queen.”
Not only did this film rock like a mofo, it also provided a stylish, decidedly quirky take on “freedom” that
flattered the anti-establishment audience for which it was clearly designed.
For that matter, who doesn’t love a 1970 Dodge Challenger?
Can you dig it?
Cleavon Little (next stop: Blazing Saddles) certainly can.
And everybody digs Super Soul, the blind disc jockey who, via the radio,
acts as Kowalski’s spiritual adviser and AAA destination finder.
Kowalski meets all kinds of freaks, lowlifes, and “happening people,” each of whom
must have seemed imminently cool to the very, very high viewers who caught this picture back in the day.
It’s easy to forget how silly it all is, thanks to splendid cinematography by
John Alonzo (Chinatown, Lady Sings the Blues) around those stunning Nevada locations.
In fact, in terms of visual style, this odd picture actually makes a suitable companion
piece for big-sky, open-road classics Electra Glide in Blue and Zabriskie Point.
It’s a mandatory double feature with Two Lane Blacktop.
Which is better? That’s like choosing between a Mustand and a GTO.
Or a Chevelle and a Charger. Beats me.
Each serves it purpose, and serves it well. Those satisfactions are permanent.
i wont call either film a masterpiece. thats a term we throw around a lot, and i’m very guilty of it too. so i want to start being a little more moderate with its usage, so it doesnt lose value.
i saw both of these films for the first time this past year. both were uninteresting. i think they’re cult films that maintain a reputation based on fond memories of an era more than aesthetics. best thing about either film is the ending of “two lane blacktop”, which is somewhat unique. but, like many other elements of cinema, its nothing jean-luc godard didn’t do first.
Two-Lane Blacktop. Upon devouring Criterion’s two-disc set and the accompanying screenplay, I discovered why Two-Lane Blacktop is the better film. I won’t spoil it for ya; get the Criterion and see for yourself.
I watched it not long ago on a double-bill with Dirty Mary, Crazy Larry.
Sublime, I’m tellin’ ya.
And Susan George can prop her feet on my coffee table any time she pleases.
Cheers,
Steve
CinemaUprising.Blogspot.com
I don’t think I’ve seen either of these.
@ Dr. Lemonglow:
Good doctor,
I was pleased to see someone else reference Electra Glide in Blue, which has gotta be some kinda crazed classic.
By sheer coincidence, here are some thoughts I scribbled on that film just two weeks ago:
http://cinemauprising.blogspot.com/2009/04/electra-glide-in-blue-existentialism-on.html
Cheers,
Steve
CinemaUprising.Blogspot.com
Two Lane Blacktop. Monte Hellman takes the conventions of his westerns and blends them with the existential elements of the road movie. Plus, Warren Oates turns in one of his better performances.
ditto: hellman and oates are watchable over and over. i’ve seen blacktop since it was originally made and many times since. i’ll watch anything with either of the two involved. not everyones cup of tea, but certainly mine.
Two-Lane Blacktop. I guess VP just feels dated to me now and a smaller film in its scope and ambition. T-LB has a formal precision and beauty and kinesis to it that, for me, removes it from the cultural context of its making (I’m thinking about the sort of cheesy/trendy 70s faux-revolutionary social backdrop of VP). It’s a sober, even frightening, vision of space and time, in its own way a fable of man vs. nature along the lines of The Birds, with that film’s malevolence replaced with existential dread. (Full disclosure: I was a student of Monte Hellman’s at CalArts, so maybe I’m biased.)
As an aside, I am curious to know what people think about QT’s Death Proof, which I find absolutely thrilling formally, with reference to VP and T-LB, its progenitors…
“death proof”. hmm. frustrating film for a lover of tarantino like me. its the first time i felt he was really reaching to write his own trademark “tarantino-ish” dialogue. i didn’t even really feel that way with “kill bill”.
the problem with “death proof” is that it had no narrative momentum. there was nothing propelling it forward, and it was very stagnant for me. its basically two half movies. better yet, almost as minimalist as two half movies that are composed of just two major sequences each. hey, maybe its extremely experimental then, and mirrors the overall structure of grindhouse!
but no, i dont get any pleasure out of watching it like i do his other films. i dont even find the big car chase that amazing. i love the credit sequence though. almost as moody and beautiful as the credit sequence for “kill bill”.
Bobby – I couldn’t agree with you more about Death Proof. Being the lover of road movies that I am, especially Vanishing Point, I was looking forward to this film, but couldn’t believe the majority of it centered around a group of woman sitting around in cafes and bars yapping it up in what seemed like strained attempts at “chick” dialogue. It prompted me to refer to this film as “chicks talking in bars and chicks talking in cars.”
Eli – I love this thread, and am working on an essay comparing these two films, which I hope to post by the end of the week. Criterion soooooo needs to give Vanishing Point the treatment it gave Two Lane Blacktop. Let’s hope Criterion gets the rights, because the DVD version out right now is shit.
i think “death proof” cut down to 90 minutes or less would be a good film. if there was some speed to it, to give it some life. hate to say this corny line, but it really just spun its wheels.
I agree about Death Proof, I’ve only seen the UK edition and although I really liked it, the problems with pacing were apparent and I can see why a lot of people were bored by it. I’d like to see the shorter Grindhouse version because I’ve got a feeling it will be the better film. However I also like the way (as somebody suggested) that it’s like two films: the first all QT’s trademark fast talk, the second all rampaging muscle cars.
I haven’t seen Two Lane Blacktop but I did see Vanishing Point for the first time this year and I was blown away by what an interesting picture it was. I actually liked the way I found bits of it pretty vague and had to do a little reading around to tie up the loose ends in my mind. Also, likely due to him fighting his way cross-state to a soul station soundtrack, it reminded me a little of ‘The Warriors’.
@Bobby Wise.
Agreed.
Death Proof delivers two amazing sequences separated by interminable hipster yackety-yak.
Tarantino’s gift for dialog is well established, but until he learns that less is more, his films will be little more than chatty, crafty hommages to other genres and, often, better films.
Example: It’s hard to work up a heady froth of enthusiasm for Reservoir Dogs if you’ve already seen The Killing and Asphalt Jungle.
Jackie Brown to date is his most mature and fully realized film. Still, I would enjoy a long afternoon in an editing suite with a print of that sucker, trimming it down to heighten the pace. Lackadaisical and plodding are two descriptors that come to mind.
But to come full circle, back to Death Proof, I am curious why so many people consider it the better of the two Grindhouse films. Planet Terror is full of flash-bam-pow — a narrative thrust that never lets up. This was the essence of the Grindhouse picture.
I suspect a real Grindhouse audience, 30-odd years ago, would have walked out on Death Proof, walked up 42nd Street to Times Square and would have decided that people-watching was more interesting.
yes, i always thought “planet terror” was the better of the two myself. i had such a fun time in the theater watching it. the relentless pace was part of it. plus, after seeing that “machete” trailer, i was amped up and ready to go (not to mention the trailers after “planet terror” finished)!
i forgot to mention my favorite sequence in “death proof”. the first multiple homicide is brilliant. nasty as they come, and very cinematic. one of the best killings i’ve seen on the screen, as a matter of fact.
cant agree with you on “jackie brown” though. thats a masterpiece as it is. the pace is picture perfect. the whole film feels like a wonderful weekend in sunny southern california. makes me miss my hometown.
“reservoir dogs” is a masterpiece too. its actually an anti-“asphalt-killing” movie. its genius is going left where they turned right. so i dont think its an unoriginal film.
Salter – Interesting in comparing Vanishing Point to The Warriors, only in this case, Kowalski seems to be attempting to transcend the earthly world to that of another, as if he’s merely passing through this world to get to another plane of existence. His only escape is through that glint of sunlight through the converging tractor blades blocking his path. Does he feel he can make it through that crack to the other side? Or are those converging tractor scoops merely the doors to his next plane of existence. A pretty deep, albeit sibtle, film.
Both are spectacular films. Two-Lane Blacktop does seem more timeless though. And it has GTO (both the man and the car).
This thread seems to be going all over the place (the Warriors? Tarantino?), but back to the original question, I’d prefer Two-Lane Blacktop. But to clarify, neither film really grabbed my interest in any significant way though. I thought they were both shoddily-made and the only reason Two-Lane Blacktop is a better film IMO is because of the unusual way it’s told on-screen. But the dialogue isn’t really that great and Warren Oates is the ONLY actor that seems to have any idea what he’s doing.
On Tarantino’s Death Proof, I prefer the original theatrical version (I have it actually, the original theatrical cuts with both Grind House films with faux-trailers – and it’s the only way to see it) because the pacing is SO much smoother and the “missing reel” gimmick actually serves a purpose in weeding out the unnecessary bits (though it would’ve been nice if it wasn’t as conspicuous).
Deckard-
You’re calling Two-Lane Blacktop shoddily-made and criticizing James Taylor’s unique performance while defending any version of Death Proof? That seems strange to me, since I have never had a mediocre remake/rip-off of such wonderful 70s American road movies “grab my interest in any significant way.” But I understand why such a film as Two-Lane Blacktop would polarize viewers, it just happens to be an all-time favorite, and I happen to agree with so many of your favorite films on your profile.
Whoa whoa. First of all I wasn’t comparing Death Proof to Two-Lane Blacktop. I merely mentioned Death Proof because there were already a few posts on it, and in comparing the theatrical cut to the “uncut” version on DVD, the theatrical cut wins out – that’s all.
But despite Two-Lane Blacktop’s legendary hipster time capsule, it just doesn’t seem to be much more than a culture photograph. It strikes me the same way as Easy Rider. For their time they set the standard for beatniks everywhere (myself included), but nowadays they haven’t aged well and what we once excused as mere trivialities (though I correct myself in criticising the dialogue, because some of the lines are coming back to me and there were quite a few quotable ones – but apart from the quotable quality of the some of the dialogue, it’s still awkwardly written and stiltedly delivered). But I recognize it as a landmark in cinematic history, it’s just not a masterpiece.
Whoa whoa. First of all I wasn’t comparing Death Proof to Two-Lane Blacktop. I merely mentioned Death Proof because there were already a few posts on it, and in comparing the theatrical cut to the “uncut” version on DVD, the theatrical cut wins out – that’s all.
But despite Two-Lane Blacktop’s legendary hipster time capsule, it just doesn’t seem to be much more than a culture photograph. It strikes me the same way as Easy Rider. For their time they set the standard for beatniks everywhere (myself included), but nowadays they haven’t aged well and what we once excused as mere trivialities (though I correct myself in criticising the dialogue, because some of the lines are coming back to me and there were quite a few quotable ones – but apart from the quotable quality of the some of the dialogue, it’s still awkwardly written and stiltedly delivered). But I recognize it as a landmark in cinematic history, it’s just not a masterpiece.
Deckard-
I knew what you meant. You never elevated Death Proof above either of the others. Sorry if I sounded rude. I just had to give you a hard time, especially since I love Two-Lane Blacktop and despise most of Tarantino’s work.
I am no expert and I am way too young to have experienced the times depicted in these films. However, I did actually write a paper last year comparing Two-Lane Blacktop to Easy Rider in a college course titled American Films of the 1970’s. I argued that Easy Rider’s success paved the way for the financing and production of a film like Two-Lane Blacktop. Ultimately, though, I felt that Two-Lane Blacktop went on to create a film that is not nearly as sensationalized through the form of fast zooms, lens flares, excessive drug use, sexuality, and a dated and overwhelming rock soundtrack that are all connected eternally to the decade in which it was created. As Easy Rider was obsessed with flare and trippy drug sequences, Two-Lane Blacktop was subtle throughout, and saved its use of flashy style until the final scene of the film (slow-motion, freeze frame, burned film, etc.). They are both seeped in 1970s’ imagery, but as someone looking completely from the outside in on a generation, I still feel that Easy Rider falls more under the category of a hipster time capsule, whereas Two-Lane Blacktop is a cinematic time capsule.
Well that’s certainly true. There’s more to said for films like Two-Lane Blacktop than, say, Fast and the Furious (or whatever today’s equivalent is) and Easy Rider was more reliant on that whole hipster aspect than Two-Lane which seemed like it wasn’t even concerned in the slightest (audiences just tended to like it and it just happened). It is a very defiant film and for that it deserves more and perhaps the film was intentionally made “shoddily” for the purpose of off-setting that whole stylized facade that was becoming more and more a part of action cinema – if so, then I should cut it some slack … and better yet, I’ll watch it again, because it’s been awhile, maybe it’s my memory that’s shoddy. Nevertheless, while it’s a film that I feel hasn’t stood the test of time, it is one that I would recommend to someone who’s never seen it – I mean, one has to see it at least once.
And to be fair, I wasn’t around the time it came out either (that would’ve made me what, 40?), but several years after, but it was a major film in my household (based purely on my father’s obsession with American cinema) so it certainly seemed like I was living in America in the early 70s.
All i want to say about Two-Lane Blacktop is that
it gives you a set of emotions that stay with you – those satisfactions are permanent
On first sight, grubby, balding, and unshaven. You can smell whiskey and sweat on him, along with the mixture of bad beds and fallen women. He’s toothy, he’s small…and he has a face like prison bread, with eyes that have known too much solitary confinement. But the eyes bulge and shrink in a sweet game of fear and courage. And for some of us, Warren Oates is the only human being in pictures. -David Thompson
Because there was once a god who walked the Earth named Warren Oates. -Richard Linklater
For the longest time I held Vanishing Point in high esteem but that last time I watched it, it seemed so dated. Didn’t quite pack the same punch as it used to. Still worth a viewing for those who haven’t seen it yet but it’s a movie definitely of its time. I came into Two-Lane Blacktop late in the game with the Criterion release after hearing about it for so many years. The first thing that surprised me was how much screen presence James Taylor had. I’m sure this was his only film role. He’s not a natural actor by any stretch of the imagination and doesn’t display much range but he has this weird charisma going for him and was very believable in the role. Too bad he didn’t pursue acting more and give up singing. The other thing that surprised me was how there was so little action. In fact, you seldom see them racing. The film just ambles along at its own pace with sparse dialogue (apart from Warren Oates, that is). It’s only after the film is over that you realize that nothing much happens in Two-Lane Blacktop. A race car driver and his mechanic pick up a nameless runaway and try to beat Warren Oates from one end of the country to the other. That’s about the extent of the story. I hope that little review didn’t come across too negative because it really is a great film. It’s just a strange one.
I probably prefer Dirty Mary, Crazy Larry over both of them for sheer fun and drive-in goodness.
Gotta go with TWO LANE BLACKTOP- Oates, Harry Dean Stanton, Hellman- perfect! COCKFIGHTER is even better though.
Eli Goodspeed
Two of the best road movies ever – poetic, existential and truly representative of “muscle car culture” in the 1970s. I can’t make heads or tails of which I like better. Don’t think I can. Anyone want to weigh in on the depth of these two materpieces?