Review of Two-Lane Blacktop (1971) by Hellbilly — 06 Aug 2008

A film of alienation, loneliness, obsession and the masculine inability to communicate like only America can do. A wonderful slow burn of a film. This is probably a film to have made George Lucas jealous.

While James Taylor's Driver and Dennis Wilson's Mechanic can't relate their feelings beyond car talk Warren Oates' GTO can't shut up and yarns a good bullshit story to no one in particular. It's an interesting contrast, as is the young guys in the fixed up old Chevy and the older man compensating in the brand spankin' new one, race for their car's pink slips cross country.

And then you have Laurie Bird as the Girl, the epitome of restlessness; the desire to make a connection, to be noticed, but to be alone all the same. Wow.

I know Two-Lane is compared to Easy Rider a lot, usually Two-Lane being cited as the better film. I like both very much for different reasons. Hopper's Easy Rider explores a more vicious, up front route of America through the drug and hippie culture. Violence boils over in that film while in Monte Helman's Two-Lane it is just a transient shadow passing by every once in a while, which in many ways is much more freighting. While Hopper focuses on the sex and drug outcasts, Helman focuses on everybody else, creating a band of characters far less stereotypical.

As I sit and type this, the film grows more and more fascinating to me. I'll have to watch it again soon.