Posted by Richard Harland Smith on February 16, 2007
"Well, here we are on the road."
Monte Hellman's 1971 cult classic Two-Lane Blacktop is one of the least understood road movies of all time. Universal picked up this tale of a cross country race between the drivers of a '55 Chevy (singer James Taylor and Beach Boys' drummer Dennis Wilson) and the middle-aged owner of a 1970 Pontiac GTO (Warren Oates) as a package deal when an indie distributor backed out. Instead of another youth hit on the order of Easy Rider (1969), the studio got a deliberately paced meditation on American insecurity born of a society devoid of absolute values. Universal clearly had no idea how to sell the picture (which they promoted as if it were a crime film) and soon pulled their support. Two-Lane Blacktop was sold down the river to the hinterlands of drive-in, grindhouse and repertory screenings, where it developed a surprisingly strong cult following.
What's makes Two-Lane Blacktop especially great and especially evocative of its time is that it defies the expectations even of its defenders. However gearheads and suburban dreamers may idolize the footloose Taylor and Wilson, these two make for a pretty conservative pair. They refuse drugs and spend money frugally to finance their addiction to racing. This need to find identity through comparison (asked how fast his car runs, The Driver answers "Depends on who else is around") sits at the heart of Two-Lane Blacktop. The Driver and The Mechanic are soulless; they have no past, no future. GTO (as Oates' character is identified in the script) constantly changes his past for whomever is riding shotgun. Some critics have cited the race's prize (pink slips) as proof that the film is about possession; I think this is a red herring. These competitors don't want anything from one another but the chance to compare. When the GTO is delayed by engine trouble, The Driver tells him they'll wait. "It doesn't interest me to be 500 miles ahead."
Although the dialogue is spare and the acting of non-professionals Taylor, Wilson and Laurie Bird (as a comely but grating young hitchhiker) is amateur, the combination works. The characterizations feel nuanced and, true to life, nobody learns anything. (Even Easy Rider’s final 12-gauge martyrdom was preferred by 1971 audiences to the lack of closure offered here.) Taylor (the only surviving member of the principle cast) is the most awkward of the young actors but his stumbling delivery sells his discomfiture while Oates contributes the performance of a lifetime as a proud but lonely man desperate for human contact. Among the eclectic supporting cast are Harry Dean Stanton as a randy Okie hitchhiker, the late Alan Vint (Macon County Line) as a good ol' boy and Katherine Squire as a creepy old woman whom GTO obligingly ferries to a country cemetery… which he then refuses to enter, as if unwilling or unable to stand on hallowed ground.
While Two-Lane Blacktop remains a hard sell for modern audiences weaned on the sound and fury of The Fast and the Furious franchaise (Two-Lane's color palette is muted and shadows are shallow, indicative of a film shot cheaply and on the fly), it does offer a compelling windshield view of America at the crossroads. Compare this to what passes for Americana these days in crap like Forrest Gump (1994) and see what has been lost in the translation of one generation to the next.
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Academy Awards Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art Direction Art in Movies Asians in Hollywood Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Black Film Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Children Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Fantasy Movies Film Composers Film Criticism Film Festival 2015 film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films About Gambling Films of the 1930s Films of the 1960s Films of the 1970s Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Film Hosts Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Memorabilia Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Magazines Movie Reviewers Movie settings Movie Stars Movie titles Movies about movies Music in Film Musicals New Releases Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Russian Film Industry Satire Scandals Science Fiction Screenwriters Semi-documentaries Sequels Serials Set design/production design Short Films Silent Film silent films Social Problem Film Spaghetti Westerns Sports Sports on Film Stereotypes Steven Spielberg Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Underground Telephones Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies U.S.S. Indianapolis Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies