Misplaced Pages

#934065

89-440: Five Easy Pieces is a 1970 American road drama film directed by Bob Rafelson , written by Rafelson and Carole Eastman (as Adrien Joyce), and starring Jack Nicholson , Karen Black , Susan Anspach , Lois Smith , and Ralph Waite . The film tells the story of surly oil rig worker Bobby Dupea (Nicholson), whose rootless blue-collar existence belies his privileged youth as a piano prodigy . When Bobby learns that his father

178-662: A 4K restoration of the film, which was screened in DCP in 2012. The film was released on DVD and Blu-ray by The Criterion Collection in November 2010 as part of the box set America Lost and Found: The BBS Story . This release includes audio commentary by Rafelson and interior designer Toby Rafelson; Soul Searching in "Five Easy Pieces" , a 2009 video piece with Rafelson; BBStory , a 2009 documentary about Raybert/BBS Productions , with Rafelson, Nicholson, Black, Burstyn, Peter Bogdanovich, and Henry Jaglom, among others; and audio excerpts from

267-495: A 1976 AFI interview with Rafelson. On June 30, 2015, the film was released as a stand-alone DVD and Blu-ray by the Criterion Collection. Road movie There are two main narratives: the quest and the outlaw chase. In the quest-style film, the story meanders as the characters make discoveries (e.g., Two-Lane Blacktop from 1971). In outlaw road movies, in which the characters are fleeing from law enforcement, there

356-465: A Cause (1955). Timothy Corrigan states that post-WW II, the genre of road films became more codified, with features solidifying such as the use of characters experiencing "amnesia, hallucinations and theatrical crisis". David Laderman states that road movies have a modernist aesthetic approach, as they focus on "rebellion, social criticism, and liberating thrills", which shows "disillusionment" with mainstream political and aesthetic norms. Awareness of

445-1325: A Downfall Child (1970) (Screenplay By) The Fortune (1975) (Writer) Man Trouble (1992) (Writer) Running Mates (1992) (TV) (Writer) References [ edit ] ^ Greenspun, Roger (September 12, 1970). "FIVE EASY PIECES" . The New York Times . External links [ edit ] Carole Eastman at IMDb Authority control databases [REDACTED] International ISNI VIAF WorldCat National Germany United States France BnF data Czech Republic 2 3 Spain Norway Poland Israel People Deutsche Biographie Other IdRef SNAC Retrieved from " https://en.wikipedia.org/w/index.php?title=Carole_Eastman&oldid=1241820658 " Categories : 1934 births 2004 deaths American women screenwriters 20th-century American women writers 20th-century American screenwriters Writers from Glendale, California Writers from California 21st-century American women Hidden categories: Articles with short description Short description

534-452: A Leg (1997) features several sketches from filmmakers and producers' Aldo, Giovanni & Giacomo 's previous comedy productions overlaid with the rest of the movie's road-trip and romantic comedy atmosphere. Other European road films include Chris Petit 's Radio On (1979), a Wim Wenders-influenced film set on the M4 motorway; Aki Kaurismäki 's Leningrad Cowboys Go America ( 1989), about

623-426: A Ride (1947) and The Hitch-Hiker (1953), all of which "establish fear and suspense around hitchhiking", and the outlaw-themed film noirs They Live by Night (1948) and Gun Crazy . Film noir-influenced road films continued in the neo noir era, with The Hitcher (1986), Delusion (1991), Red Rock West (1992), and Joy Ride (2001). Even though road movies are a significant and popular genre, it

712-407: A bounded journey with a clear start and finish which differs from the open ended wandering of previous films, with characters making chance encounters with other drivers who influence where one travels or ends up. To contrast the intellectual Sal character, Kerouac has the juvenile delinquent Dean, a wild, fast-driving character who represents the idea that the road provides liberation. By depicting

801-468: A cab driver ferrying strange passengers around the city. Timothy Corrigan has called the postmodern road movie a "borderless refuse bin" of " mise en abyme " reflection, reflecting a modern audience that is not able to think of a "naturalized history". Atkinson calls contemporary road movies an "ideogram of human desire and a last-ditch search for self" designed for an audience that was raised watching TV, particularly open-ended serial programs. Note, that

890-607: A false promise that she would not appear nude in the final cut. The opening credits list the five classical piano pieces played in the film and referenced in the title. Pearl Kaufman is credited as the pianist. Also included are four songs sung by Tammy Wynette : " Stand by Your Man ", " D-I-V-O-R-C-E ", " Don't Touch Me ", and "When There's a Fire in Your Heart". The film was shown at the New York Film Festival on September 11, 1970. It opened commercially on September 12 at

979-698: A fictional Russian rock band which travels to the US; and Theo Angelopoulos ' Landscape in the Mist , about a road trip from Greece to Germany. Road movies made in Latin America are similar in feel to European road films. Latin American road movies are usually about a cast of characters, rather than a couple or single person, and the films explore the differences between urban and rural regions and between north and south. Luis Buñuel 's Subida al Cielo ( Mexican Bus Ride , 1951),

SECTION 10

#1732852401935

1068-647: A film noir about a musician travelling from New York City to Hollywood who sees a nation absorbed by greed, or Dennis Hopper ’s Easy Rider , which showed how American society was transformed by the social and cultural trends of the late 1960s. The New Hollywood era films made use of the new film technologies in the road movie genre, such as "fast film stock" and lightweight cameras, as well as incorporating filmmaking approaches from European cinema, such as "elliptical narrative structure and self-reflexive devices, elusive development of alienated characters; bold traveling shots and montage sequences. Road movies have been called

1157-574: A mixed review, critic John Simon criticized Five Easy Pieces for its "pretentiousness" but praised the performances of Karen Black, Lois Smith, and Billy Green Bush. In 2022 retrospective review, Polish writer Jacek Szafranowicz called the film "flawless" and "one of the masterpieces of the New Hollywood era". On November 16, 1999, Columbia TriStar Home Video released the film on two-sided DVD-Video , featuring both fullscreen (4:3) and widescreen formats. Grover Crisp of Sony Pictures conducted

1246-468: A motel before driving alone to the family home on an island in Puget Sound . He finds Partita giving their father a haircut; the old man seems completely oblivious to him. At dinner, Bobby meets Catherine Van Oost, a young pianist studying under and engaged to his amiable brother Carl, a violinist. Despite personality differences, Catherine and Bobby are immediately attracted to each other. Learning that Bobby

1335-589: A movie character who was marginalized and who could not be incorporated into mainstream American culture, Kerouac opened the way for road movies to depict a more diverse range of characters, rather than just heterosexual couples (e.g., It Happened One Night ), groups on the move (e.g., The Grapes of Wrath ), notably the pair of male buddies. On the Road and another novel published in the same era, Vladimir Nabokov 's novel Lolita (1955), have been called "two monumental road novels that rip back and forth across American with

1424-426: A post-WW II genre, as they track key post-war cultural trends, such as the breakup of the traditional family structure, in which male roles were destabilized; there is focus on menacing events which impact the characters who are on the move; there is an association between the character and the mode of transportation being used (e.g., a car or motorcycle), with the car symbolizing the self in the modern culture; and there

1513-468: A road movie tradition than stretches from Bertrand Blier 's Les Valseuses (1973) and Agnès Varda 's Sans toit ni loi (about a homeless woman) to 1990s films such as Merci la vie (1991) and Virginie Despentes and Coralie Trinh Thi 's Baise-moi (a controversial film about two women revenging a rape), to 2000s films such as Laurent Cantet 's L'emploi du temps (2001) and Cédric Kahn 's Feux rouges (2004). While French road movies share

1602-443: A rupture point in the narrative which erases and forgets the history of this violence. Canada also has huge expanses of territory, which make the road movie also common in that country, where the genre is used to examine "themes of alienation and isolation in relation to an expansive, almost foreboding landscape of seemingly endless space", and explore how Canadian identity differs from the "less humble and self-conscious neighbours to

1691-570: A small town where the inhabitants cause road accidents to salvage the vehicles; the biker film Stone (1974) by Sandy Harbutt , about a biker gang who witness a political cover-up murder; The (1981) thriller Roadgames by Richard Franklin , about a truck driver who tracks down a serial killer in the Australian outback; Dead-end Drive-in (1986) by Brian Trenchard-Smith , about a dystopian future where drive-in theatres are turned into detention centres; Metal Skin (1994) by Geoffrey Wright about

1780-567: A story about a journey down the Mississippi River that is full of social commentary; Heart of Darkness (1902), about a journey down a river in the Belgian Congo to search for a rogue colonial trader; and Women in Love (1920), which describes "travel and mobility" while also providing social commentary about the woes of industrialization. Laderman states that Women in Love particularly lays

1869-586: A street racer; and Kiss or Kill (1997) by Bill Bennett , a film noir-style road movie. The Adventures of Priscilla, Queen of the Desert (1994) has been called a "watershed gay road movie that addresses diversity in Australia". Walkabout (1971), Backroads (1977), and Rabbit-Proof Fence (2002) use a depiction of travelling through the Australian outback to address the issue of relations between white and Indigenous people. In 2005, Fiona Probyn described

SECTION 20

#1732852401935

1958-548: A strong American influence, with the films incorporating the road movie-comedy genre hybrid made popular in US films such as Peter Farrelly 's Dumb and Dumber (1994). Spanish films including Los años bárbaros , Carretera y manta , Trileros , Al final del Camino , and Airbag , which has been called the "most successful Spanish road movie of all time". Airbag , along with Slam (2003), El mundo alrededor (2006) and Los managers , are examples of Spanish road films that, like US movies such as Road Trip , uses

2047-410: A subgenre of road movies about Indigenous Australians that she called "No Road" movies, in that they typically do not show a vehicle travelling on an asphalt road; instead, these films depict travel on a trail, often with Indigenous trackers being shown using their tracking abilities to discern hard-to-detect clues on the trail. With the increasing depiction of racial minorities in Australian road movies,

2136-510: A subversive erotic charge." In the 1950s, there were "wholesome" road comedies such as Bob Hope and Bing Crosby 's Road to Bali (1952), Vincente Minnelli 's The Long, Long Trailer (1954) and the Dean Martin and Jerry Lewis film Hollywood or Bust (1956). There were not many 1950s road films, but "postwar youth culture" was depicted in The Wild One (1953) and Rebel Without

2225-669: A surge of motion-pictures such as Road, Movie , nominated for the Tokyo Sakura Grand Prix Award , the Tribeca Film Festival , and the Generation 14plus at the 60th Berlin International Film Festival in 2010. Liars Dice explores the story of a young mother from a remote village who, going in search of her missing husband, goes missing, the film examines the human cost of migration to cities and

2314-548: A taxi driver trying to find about the Hollywood detective character Charlie Chan , and Abraham Lim 's Roads and Bridges (2001), about an Asian-American prisoner who is sentenced to clean up garbage along a Midwestern highway. Australia's vast open spaces and concentrated population have made the road movie a key genre in that country, with films such as George Miller 's Mad Max films, which were rooted in an Australian tradition for films with " dystopian and noir themes with

2403-423: A waitress who has dreams of singing country music, or with fellow oil worker Elton, with whom he bowls, gets drunk, and philanders. When Bobby gets Rayette pregnant and Elton is arrested, Bobby quits his job and goes to Los Angeles, where his sister Partita is making a classical piano recording. She tells Bobby, who was once also a pianist, that their father has suffered two strokes , and urges him to reconcile with

2492-414: A wealthy woman who goes on the road is liberated from her elite background and marriage to an immoral husband when she meets and experiences hospitality from regular, good-hearted Americans who she never would have met in her previous life, with middle America depicted as a utopia of "real community". The scenes in road movies tend to elicit longing for a mythic past. American road movies have tended to be

2581-614: A white genre, with Spike Lee 's Get on the Bus (1996) being a notable exception, as its main characters are African-American men on a bus travelling to the Million Man March (the film depicts the historic role of buses in the US civil rights movement). Asian-American filmmakers have used the road movie to examine the role and treatment of Asian-Americans in the United States; examples include Wayne Wang 's Chan Is Missing (1982), about

2670-709: Is about a poor rural person's trip into a big city to help his mother, who is dying. The road trip on this film is shown as a "carnivalesque pilgrimage" or "travelling circus", an approach also used in Bye Bye Brazil (1979, Brazil), Guantanamera (1995, Cuba), and Central do Brasil ( Central Station , 1998, Brazil). Some Latin American road movies are also set in the era of conquest, such as Cabeza de Vaca (1991, Mexico). Movies about outlaws escaping from justice include Profundo Carmesí ( Deep Crimson , 1996, Mexico) and El Camino ( The Road , 2000, Argentina). Y tu mamá también ( And Your Mother Too , 2001, Mexico)

2759-471: Is about two young male buddies who have sexual adventures on the road. Movies involving road movie genre while being rejected by mainstream media, gained huge popularity in Russian art cinema and surrounding post-Soviet cultures, slowly building their way into international film festivals. Well-known examples are My Joy (2010), Bimmer (2003), Major (2013), and How Vitka Chesnok Took Lyokha Shtyr to

Five Easy Pieces - Misplaced Pages Continue

2848-472: Is an "overlooked strain of film history". Major genre studies often do not examine road movies, and there has been little analysis of what qualifies as a road movie. The road movie is mostly associated with the United States, as it focuses on "peculiarly American dreams, tensions and anxieties". US road movies examine the tension between the two foundational myths of American culture, which are individualism and populism, which leads to some road films depicting

2937-697: Is dying, he travels to his family home in Washington to visit him, taking along his uncouth girlfriend (Black). The film was nominated for four Academy Awards and five Golden Globe Awards , and was inducted into the National Film Registry of the Library of Congress in 2000, being deemed "culturally, historically, or aesthetically significant". Bobby Dupea works in an oil field in Kern County, California . He spends most of his time with his girlfriend Rayette,

3026-565: Is stuck between the father-daughter duo, as they embark on a journey from Delhi to Kolkata . In Nagesh Kukunoor 's children's film Dhanak a blind kid and his sister set off alone on a 300 km journey traversing testing Indian terrain from Jaislamer to Jodhpur , the film won the Crystal Bear Grand Prix for Best Children's Film, and Special Mention for the Best Feature Film by The Children's Jury for Generation Kplus at

3115-403: Is used. The road movie keeps its characters "on the move", and as such the "car, the tracking shot , [and] wide and wild open space" are important iconography elements, similar to a Western movie . As well, the road movie is similar to a Western in that road films are also about a "frontiersmanship" and about the codes of discovery (often self-discovery). Road movies often use the music from

3204-546: Is usually a focus on men, with women typically being excluded, creating a "male escapist fantasy linking masculinity to technology". Despite these examples of the post-WW II aspects of road movies, Cohan and Hark argue that road movies go back to the 1930s. In the 2000s, a new crop of road movies was produced, including Vincent Gallo 's Brown Bunny (2003), Alexander Payne 's Sideways (2004), Jim Jarmusch 's Broken Flowers (2005) and Kelly Reichardt 's Old Joy (2006) and scholars are taking more interest in examining

3293-466: Is usually more sex and violence (e.g., Natural Born Killers from 1994). Road films tend to focus more on characters' internal conflicts and transformations, based on their feelings as they experience new realities on their trip, rather than on the dramatic movement-based sequences that predominate in action films . Road movies do not typically use the standard three-act structure used in mainstream films; instead, an "open-ended, rambling plot structure"

3382-570: The Odyssey and the Aeneid . The road film is a standard plot employed by screenwriters . It is a type of bildungsroman , a story in which the hero changes, grows or improves over the course of the story. It focuses more on the journey rather than the goal. David Laderman lists other literary influences on the road movie, such as Don Quixote (1615), which uses a description of a journey to create social satire; The Adventures of Huckleberry Finn (1884),

3471-960: The 65th Berlin International Film Festival Finding Fanny is based on a road trip set in Goa and follows the journey of five dysfunctional friends who set out on a road trip in search of Fanny. The Good Road is told in a hyperlink format , where several stories are intertwined, with the center of the action being a highway in the rural lands of Gujarat near a town in Kutch . Several road movies have been produced in Africa , including Cocorico! Monsieur Poulet (1977, Niger ); The Train of Salt and Sugar (2016, Mozambique ); Hayat (2016, Morocco ); Touki Bouki (1973, Senegal) and Borders (2017, Burkina Faso ). The genre has its roots in spoken and written tales of epic journeys, such as

3560-527: The New Hollywood era, Five Easy Pieces is a haunting portrait of alienation that features one of Jack Nicholson's greatest performances." Roger Ebert gave the film four out of four stars, describing it as "one of the best American films" and "a masterpiece of heartbreaking intensity" and deeming Bobby Dupea "one of the most unforgettable characters in American movies." Ebert named it the best film of 1970, and later added it to his " Great Movies " list. In

3649-757: The Russo-Ukrainian War . Indian screens saw a series of road movies with experimental filmmaker Ram Gopal Varma 's works such as Kshana Kshanam . Rachel Dwyer , a reader in world cinema at the University of London -Department of South Asia, marked Varma's contribution into the new-age film noir . The film received critical reception at the Ann Arbor Film Festival , which led to a series of genre-benders like Mani Ratnam 's Thiruda Thiruda , and Varma's Daud , Anaganaga Oka Roju and Road . Subsequently 21st century bollywood movies witnessed

Five Easy Pieces - Misplaced Pages Continue

3738-450: The "No Road" subgenre has also been associated with Asian-Australian films that depict travel using routes other than roads (e.g., the 2010 film Mother Fish , which depicts travel over water as it tells the story of the boat people refugees). The iconography of car crashes in many Australian road movies (particularly the Mad Max series) has been called a symbol of white-Indigenous violence,

3827-517: The "disintegration of the family and the community" and the "journey of transformation", as it depicts two fugitives on the run, whose distrust fades as the two women learn to trust each other from their adventures on the road. The images in the film are blend of homage to US road movie conventions (gas stations, billboards) and "recognizable Spanish types", such as the "embittered drunkard". Other European road films include Ingmar Bergman 's Wild Strawberries (1957), about an old professor travelling

3916-440: The "first mumblecore road movie"; Broken Flowers (2005); Jonathan Dayton and Valerie Faris ' Little Miss Sunshine (2006), about a family's trip in a VW camper van; Old Joy (2006); Alexander Payne 's Nebraska (2013), which depicts a father and son on a road trip; Steven Knight 's Locke (2013), about a construction executive taking stressful calls on a road trip; and Jafar Panahi 's Taxi Tehran (2015), about

4005-474: The "road movie genre as a narrative framework for...gross-out sex comedy". The director of Airbag , Juanma Bajo Ulloa , states that he aimed to make fun of the road movie genre as established in North America, while still using the metamorphosis through road trip narrative that is popular in the genre (in this case, the main male character rejects his upper class girlfriend in favour of a prostitute he meets on

4094-407: The "road picture" as a separate genre came only in the 1960s with Bonnie and Clyde and Easy Rider . Road movies were an important genre in the late 1960s and 1970s era of the New Hollywood , with films such as Terrence Malick 's Badlands and Richard Sarafian 's Vanishing Point (1971) showing an influence from Bonnie and Clyde . There may have been influences from French cinema in

4183-516: The 1940s internment of Japanese Canadians by the Canadian government (e.g., Lise Yasui 's Family Gathering (1988), Rea Tajiri 's History and Memory (1991) and Janet Tanaka 's Memories from the Department of Amnesia (1991). European filmmakers of road movies appropriate the conventions established by American directors, while at the same time reformulating these approaches, by de-emphasizing

4272-461: The Bus from 1996) and lone drivers ( Vanishing Point from 1971). The road movie has been called an elusive and ambiguous film genre. Timothy Corrigan states that road movies are a "knowingly impure" genre as they have "overdetermined and built-in genre-blending tendencies". Devin Orgeron states that road movies, despite their literal focus on car trips, are "about the [history of] the cinema, about

4361-514: The Coronet Theatre in New York. "The last sequence is of the finest quality. Bobby decides to leave both girlfriend and family and abandon life entirely...a truck driver gives him a ride to a place where 'it is very cold': the country of death. Rafelson and his cameraman László Kovács fix the scene in our minds forever: the filling station and its discreet restroom; the grey surrounding buildings;

4450-678: The Country column is the country of origin and/or financing, and does not necessarily represent the country or countries depicted in each film. Universal Pictures (International) Carole Eastman American screenwriter Carole Eastman Born February 19, 1934 Glendale, California , United States Died February 13, 2004 (2004-02-13) (aged 69) Los Angeles, California , United States Other names Adrien Joyce A.L. Appling Occupation Screenwriter Carole Eastman (February 19, 1934 – February 13, 2004)

4539-466: The Home for Invalids (2017). Some other movies incorporate a large portion of road movie style, for example Morphine (2008), Leviathan (2014), Cargo 200 (2007), Donbass (2018). With themes ranging from crime, corruption and power to history, addiction and existence, road movies became an independent part of cinematic landscape. From the strong flow of existentialism, to the black comedy style,

SECTION 50

#1732852401935

4628-651: The Road (1976). All three films were shot by cinematographer Robby Müller and mostly take place in West Germany . Kings of the Road includes stillness, which is unusual for road movies, and quietness (except for the rock soundtrack). Other road movies by Wenders include Paris, Texas and Until the End of the World . Wender's road movies "filter nomadic excursions through a pensive Germanic lens" and depict "somber drifters coming to terms with their internal scars". France has

4717-585: The Side (1995), in that they show a "less traditional" and more "visible, innovative, introspective, and realistic" type of woman onscreen. Spanish road movies about women include Hola, ¿estás sola? , Lisboa , Fugitivas , Retorno a Hansala , and Sin Dejar Huella address social issues about women, such as the "injustice and mistreatment" that women experience under "authoritarian patriarchal order." Fugitivas depicts an American road movie genre convention:

4806-1085: The US road movie's focus on the theme of individual freedom, French movies also balance this value with equality and fraternity, according to the French Republican model of liberty-equality-fraternity. Neil Archer states that French and other Francophone (e.g., Belgium, Switzerland) road films focus on "displacement and identity", notably in regards to maghrebin immigrants and young people (e.g., Yamina Benguigui 's Inch'Allah Dimanche (2001), Ismaël Ferroukhi 's La Fille de Keltoum (2001) and Tony Gatlif 's Exils (2004). More broadly, European films are tending to use imagery of border-crossing and focusing on "marginal identities and economic migration", which can be seen in Lukas Moodysson 's Lilja 4-ever (2002), Michael Winterbottom's In This World (2002) and Ulrich Seidl 's Import/Export (2007). European road movies also examine post-colonialism , "disclocation, memory and identity". Road movies from Spain have

4895-461: The car crash experience", a subject matter which led to Ted Turner lobbying against the film being shown in US theatres. Asian-Canadian filmmakers have made road films about the experience of Canadians of Asian origin, such as Ann Marie Fleming 's The Magical Life of Long Tak Sam , which is about her search for her "Chinese grandfather, an itinerant magician and acrobat". Other Asian-Canadian road movies look at their relatives experiences during

4984-432: The car stereo, which the characters are listening to , as the soundtrack and in 1960s and 1970s road movies, rock music is often used (e.g., Easy Rider from 1969 used a rock soundtrack of songs from Jimi Hendrix , The Byrds and Steppenwolf ). While early road movies from the 1930s focused on couples, in post-World War II films, usually the travellers are male buddies, although in some cases, women are depicted on

5073-420: The country's history, current situation, and to anxieties about the future. The Mad Max films, including Mad Max , The Road Warrior and Mad Max Beyond Thunderdome , "have become canonical for their dystopic reinvention of the outback as a post-human wasteland where survival depends upon manic driving skills". Other Australian road movies include Peter Weir 's The Cars That Ate Paris (1974), about

5162-480: The creation of Bonnie and Clyde ; David Newman and Robert Benton have stated that they were influenced by Jean-Luc Godard 's A bout de souffle (1960) and François Truffaut 's Tirez sur la pianiste (1960). More generally, Devin Orgeron states that American road movies were based on post-WW II European cinema's own take on the American road film approach, showing a mutual influence between US and European filmmakers in this genre. The addition of violence to

5251-702: The culture of the image", with road movies created with a mixture of Classical Hollywood film genres. The road movie genre developed from a "constellation of “solid” modernity, combining locomotion and media-motion" to get "away from the sedentarising forces of modernity and produc[e] contingency". Road movies are blended with other genres to create a number of subgenres, including: road horror (e.g., Near Dark from 1987); road comedies (e.g., Flirting with Disaster from 1996); road racing films (e.g., Death Race 2000 from 1975) and rock concert tour films (e.g., Almost Famous from 2000). Film noir road movies include Detour (1945), Desperate , The Devil Thumbs

5340-411: The destructive power of cars and the country’s harsh, sparsely populated land mass ". Australian road movies have been described as having a dystopian or gothic tone, as the road the characters travel on is often a "dead end", with the journey being more about "inward-looking" exploration than reaching the intended location. In Australia, road movies have been called a "complex metaphor" which refers to

5429-574: The dripping autumnal vegetation of the Pacific Northwest; the parked truck waiting to go to Alaska; the face of Nicholson, already aging and filled with premonitory shadows, fixed behind the windshield. Religion, love and family have all failed to work, leaving absolutely nothing at the end but a journey to nowhere." —Biographer Charles Higham in The Art of the American Cinema: 1900-1971 . In

SECTION 60

#1732852401935

5518-514: The exploitation of migrant workers. It was India's Official Entry for the Best Foreign Language Film for the 87th Academy Awards . It won special prize at Sofia International Film Festival . In Karwaan , the protagonist is forced to set out on a road trip from Bengaluru to Kochi after he loses his father in an accident, but the body delivered to him is of the mother of a woman in another state. Ryan Gilbey of The Guardian

5607-523: The family at their home in Washington . Rayette threatens to kill herself if Bobby leaves her, so he reluctantly asks her along. Driving north, they pick up Terry and Palm, two stranded women headed for Alaska. The latter launches into a monologue about the evils of consumerism . The four are thrown out of a diner after Bobby argues with an obstinate waitress over his order. Bobby drops off Terry and Palm when they get to Washington. Ashamed to introduce Rayette to his upper-class family, Bobby registers her in

5696-605: The film's opening weekend at the Coronet, it grossed $ 10,476. It grossed $ 36,710 in its first week. After ten weeks of release, it reached number one at the US box office . The film earned $ 1.2 million in the United States in 1970. By 1976, it had earned $ 8.9 million in the United States and Canada. Five Easy Pieces opened to positive reviews. It currently holds an 89% positive rating on online review aggregator Rotten Tomatoes , based on 55 reviews, with an average rating of 8.60/10. The site's consensus states: "An important touchstone of

5785-589: The genre. The British Film Institute highlights ten post-2000 road films that show that "[t]here’s still plenty of gas left in the road movie genre". The BFI's top 10 include Andrea Arnold ’s American Honey (2016), which used "mostly non-professional actors"; Alfonso Cuarón 's Y tu mamá también (2001), about Mexican teens on the road; The Brown Bunny (2003), which garnered publicity for its "infamous fellatio scene"; Walter Salles ' The Motorcycle Diaries (2004), about Che Guevera's epic motorcycle trip; Mark Duplass and Jay Duplass ' The Puffy Chair (2005),

5874-468: The groundwork for the future road films, as it showed a couple who rebelled against social norms by leaving their familiar location and going on an aimless, meandering journey. Steinbeck's novel The Grapes of Wrath (1939) depicts a family that struggles to survive on the road during the Great Depression, a book that has been called "America's best-known proletarian road saga". The movie version of

5963-453: The heterosexual couple are united by their involvement in murder; as well, with jail hanging over their heads, there can be no return to domestic life at the end of the film. There have been three historical eras of the "outlaw-rebel" road movie: the post-WW II film noir era (e.g., Detour ), the late 1960s era which was rocked by the Vietnam War ( Easy Rider and Bonnie and Clyde ), and

6052-403: The increasing diversity of the drivers shown in 1990s and subsequent decades' road films are The Living End (1992), about two gay, HIV-positive men on a road trip; To Wong Foo, Thanks for Everything! Julie Newmar (1995), which is about drag queens, and Smoke Signals (1998), which is about two Indigenous men. While rare, there are some road movies about large groups on the road ( Get on

6141-443: The novel, made a year later, depicts the hungry, weary family's travel on Route 66 using "montage sequences, reflected images of the road on windshields and mirrors", and shots taken from the driver's point of view to create a sense of movement and place. Even though Henry Miller's The Air-Conditioned Nightmare (1947) is not a fictional work, it captures the mood of frustration, restlessness and aimlessness that became prevalent in

6230-578: The open road as a "utopian fantasy" with a homogenous culture while others show it as a "dystopian nightmare" of extreme cultural differences. US road movies depict the wide open, vast spaces of the highways as symbolizing the "scale and notionally utopian" opportunities to move up upwards and outwards in life. In US road movies, the road is an "alternative space" where the characters, now set apart from conventional society, can experience transformation. For example, in It Happened One Night (1934),

6319-613: The post-Reagan era of the 1990s, when the "masculinist heroics of the Gulf War gave way to closer scrutiny" ( My Own Private Idaho , Thelma & Louise and Natural Born Killers ). In the 1970s, there were low-budget outlaw films depicting chases, such as Eddie Macon's Run . In the 1980s, there were rural Southern road movies such as Smokey and the Bandit and the Cannonball Run chase films of 1981 and 1984. The outlaw couple movie

6408-414: The pre-WW II era was changed by the publication of Jack Kerouac 's On the Road in 1957, as it sketched out the future for the road movie and provided its "master narrative" of exploration, questing, and journeying. The book includes many descriptions of driving in cars. It also depicted the character Sal Paradise, a middle class college student who goes on the road to seek material for his writing career,

6497-457: The road movie experienced a new revival. Most precious are pieces from Sergei Loznitsa , in his early work My Joy (2010) he used black noir style to tell the story of people falling together with destruction of governments after the fall of the Soviet Union. In his later work Donbass (2018), he takes an opposing style, turning to black comedy and satire to underline actual war tragedies in

6586-436: The road movie. In the book, which describe's Miller's cross-country journey across the United States, he criticizes the nation's descent into materialism. Western films such as John Ford 's Stagecoach (1939) have been called "proto-road movies." In the film, an unusual group of travellers, including a banker, prostitute, escaped prisoner and a military officer's wife, move through the dangerous desert trails. Even though

6675-641: The road). Airbag also uses Spanish equivalents to the stock road movie setting and iconography, depicting "deserts, casinos and road clubs" and use the road movie action sequences (chases, car explosions, and crashes) that remind the viewer of similar work by Tony Scott and Oliver Stone . A second subtype of Spanish road movies is more influenced by the female road movies from the US, such as Martin Scorsese 's Alice Doesn't Live Here Anymore (1974), Jonathan Demme 's Crazy Mama (1975), Ridley Scott 's Thelma & Louise (1991), and Herbert Ross ' Boys on

6764-407: The road, either as temporary companions, or more rarely, as the protagonist couple (e.g., Thelma & Louise from 1991). The genre can also be parodied, or have protagonists that depart from the typical heterosexual couple or buddy paradigm, as with The Adventures of Priscilla, Queen of the Desert (1994), which depicts a group of drag queens who tour the Australian desert. Other examples of

6853-459: The roads of Sweden and picking up hitchhikers and Jean-Luc Godard 's Pierrot le fou (1965) about law-breaking lovers escaping on the road. Both of these films, as well as Roberto Rossellini 's Voyage in Italy (1953) and Godard's Weekend (1967) have more "existential sensibility" or pauses for "philosophical digressions of a European bent", as compared with American road films. Three Men and

6942-443: The room in search of Catherine, he discovers his father's male nurse giving Partita a sensual massage. He picks a fight with the nurse, who easily subdues him. Bobby tries to persuade Catherine to go away with him, but she declines, telling him he cannot ask for love when he does not love himself, or anything at all. After tearfully confessing his regrets to his unresponsive father, Bobby leaves for California with Rayette. Shortly into

7031-575: The sexual tension of road movies in the late 1960s and in subsequent decades can be seen as a way to create more excitement and "frisson". From the 1930s to 1960s, merely showing a man and woman on a road trip was exciting for audience, as all the motel stays and closeness had implied, yet deferred, consummation of the sexual attraction between the characters (sex could not be depicted due to the Motion Picture Production Code ). With Bonnie and Clyde (1967) and Natural Born Killers (1994),

7120-456: The south", in United States. Canadian road films include Donald Shebib 's Goin' Down the Road (1970), three Bruce McDonald films ( Roadkill (1989), Highway 61 (1991), and Hard Core Logo (1996), a mockumentary about a punk rock band's road tour), Malcolm Ingram 's Tail Lights Fade (1999) and Gary Burns ' The Suburbanators (1995). David Cronenberg 's Crash (1996) depicted drivers who get "perverse sexual arousal through

7209-493: The speed of the driver on the road, increasing the amount of introspection (often on themes such as national identity), and depicting the road trip as a search on the part of the characters. The German filmmaker Wim Wenders explored the American themes of road movies through his European reference point in his Road Movie trilogy in the mid-1970s. They include Alice in the Cities (1974), The Wrong Move (1975), and Kings of

7298-465: The travellers are so unlike each other, the mutual danger they must face in travelling through Geronimo 's Apache territory requires them to work together to create a "utopia of...community". The difference between older stories about wandering characters and the road movie is technological: with road movies, the hero travels by car, motorcycle, bus or train, making road movies a representation of modernity's advantages and social ills. The on-the-road plot

7387-668: The trip, they stop for gas and coffee; while Rayette's view is obstructed, Bobby hitches a ride on a truck headed north. While the film's earlier scenes were shot in California , the majority was filmed in the Pacific Northwest . Filming primarily occurred on Vancouver Island in British Columbia , with additional photography occurring in Florence and Portland, Oregon . The diner sequence, in which Robert pesters an obstinate waitress,

7476-900: Was an American actress and screenwriter . Among her credits are screenplays for Monte Hellman's The Shooting (1967), Bob Rafelson's Five Easy Pieces (1970) (for which she was nominated for an Academy Award along with co-writer Rafelson), and Mike Nichols ’s The Fortune (1975). She occasionally used the pseudonyms "Adrien Joyce" and "A.L. Appling". Filmography [ edit ] Alfred Hitchcock Presents (1962) (Season 7 Episode 14: "Bad Actor") as Marjorie 'Marge' Rogers The Shooting (1967) (Writer) Run for Your Life (1968) (TV) (Season 2 Episode 9: "The Treasure Seekers") (Writer) (Season 2 Episode 12: Hang Down Your Head and Laugh") (Teleplay) (Season 3 Episode 20: "Saro-Jane, You Never Whispered Again") (Teleplay) Model Shop (1969) (English Dialogue) Five Easy Pieces (1970) (Screenplay / Story) Puzzle of

7565-547: Was broadly positive about Zoya Akhtar 's Zindagi Na Milegi Dobara ; he wrote, "It's still playing to full houses, and you can see why. Slick it may be. But tourist board employees representing the various Spanish cities flattered in the movie are not the only ones who will come out grinning", and that he found the movie "stubbornly un-macho" for a buddy film. Piku tells the story of the short-tempered Piku Banerjee ( Deepika Padukone ), her grumpy, aging father Bhashkor ( Amitabh Bachchan ) and Rana Chaudhary ( Irrfan Khan ), who

7654-656: Was filmed at a Denny's along Interstate 5 near Eugene, Oregon . Screenwriter Carole Eastman based the scene on a real incident she witnessed at Pupi's Bakery and Sidewalk Café in Los Angeles, where an aggrieved Jack Nicholson pushed all the plates and cups off of a table, and on Rafelson frequently asking for substitutions at restaurants. To prepare for his role, Jack Nicholson undertook piano lessons from Polish concert pianist Josef Pacholczyk. In 2022, Sally Struthers revealed that director Bob Rafelson coerced her into appearing nude on set against her stated wishes, and made

7743-584: Was once a pianist, she asks him to play for her. She is moved by his rendition of Frédéric Chopin 's Prelude, Op. 28, No. 4 , but Bobby dismisses her, insisting that he played with "no inner feeling". Angered by Bobby's rejection, she leaves, but he follows after her and they have sex in her room. Rayette runs out of money at the motel and comes to the Dupea estate unannounced. Her presence creates an awkward situation, but when intellectual family friend Samia Glavia ridicules her, Bobby comes to her defense. Storming out of

7832-434: Was reinvented in the 1990s with a postmodernist take in films such as Wild at Heart , Kalifornia and True Romance . While the first road movies described the discovery of new territories or pushing the boundaries of a nation, which was a core message of early Western films in the United States, road movies were later used to show how national identities were changing, such as which Edgar G. Ulmer ’s Detour (1945),

7921-403: Was used at the birth of American cinema but blossomed in the years after World War II , reflecting a boom in automobile production and the growth of youth culture. Early road movies have been criticized by some progressives for their "casual misogyny", "fear of otherness", and for not examining issues such as power, privilege, and gender and for mostly showing white people. The road movie of

#934065