"It's a fuse. There's nothing behind it; it's a punk gesture." And anyway, we blew it. The counterculture is hardly to blame for everything; only for imagining it transcended anything (and the attendant unintended consequences). Suck sucks either way.
The martyrdom of EASY RIDER is placed under a microscope as it echoes to the next generation. Linda Manz's abused, lashing-out punk loves Elvis as much as Sid Vicious (a tip to the built-in conservatism of the genre), and she is as destructive as either. Yet Hopper sympathizes w/ the futility of her gesture, meanwhile casting his own generation as no better than the Establishment they themselves hated. Haunting.
LA ECUACIÓN DE "OUT IN THE BLUE":
El "look" y el estilo de Fassbinder +
La psicologización de los personajes de Nicholas Ray +
La clase obrera del "kitchen sink realism" británico +
La muerte de Elvis y el nacimiento del punk +
Subversión a la Dennis Hopper
OUT IN THE BLUE
With Linda Manz, a talented actress known for 2 other films: Days of Heaven (1978), Terrence Malick and The Wanderers (1979), Philip Kaufman.
Avec Linda Manz, Les Moissons du ciel (1978) de Terrence Malick et Les Seigneurs (1979), de Philip Kaufman).
Hopper took on camera here for the first time after 9 years - he was blacklisted after "The Last Movie" was considered a flop. This movie is a dark ride into the troubled times of alcoholism and heroin addiction - Hopper was tumbling down back then. It's challenging, jerky at times, but still beautiful. I kind of see similarities between his piece and NY Cinema Of Transgression's flicks. Worthy!
Hopper was absolutely fearless and feral as an artist. This movie is a veritable catalogue of working class dysfunction and despair. Hopper's characters start off desperate and collapse into insanity. This is the sort of raw, wounded, angry cry from hell that would never be made now. Hopper always lunges for the most painful and sordid truth. A rough hewn and raggedy signpost of the counter culture's decadent demise.