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Bike Boy (1967)

 -  Drama  -  5 October 1967 (USA)
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Ratings: 6.7/10 from 66 users  
Reviews: 5 user | 1 critic

Joe Spencer, a member of a motorcycle gang, is taking a shower. After his bout with personal hygiene, Joe encounters Andy Warhol's "superstars," who engage him in conversation. The ... See full summary »



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Title: Bike Boy (1967)

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Cast overview:
Joseph Spencer ...
Joe, the Motorcyclist (as Joe Spencer)
Ed Wiener ...
Joe's Buddy
Vera Cruz ...
Other Cyclist
George Ann ...
Bruce Ann ...
Ed Hood ...
Brigid Berlin ...
Woman with husband (as Brigid Polk)
Ingrid Superstar ...
Girl in kitchen
Ann Wehrer ...
Woman wearing wig
Girl on couch
Clay Bird ...
Bettina Coffin ...
Florist woman
Valerie Solanas ...
Woman on street (as Valerie Solanis)


Joe Spencer, a member of a motorcycle gang, is taking a shower. After his bout with personal hygiene, Joe encounters Andy Warhol's "superstars," who engage him in conversation. The superstars crack jokes he doesn't understand and continually correct his poor pronunciation in an attempt to deflate his machismo. In response to these provocations, Joe becomes more obscene and more boasting, but ultimately, he cannot compete with the put-downs that are part of the put-on performances of the Warhol superstars, who prevail over him in the end. Written by Tummy AuGratin

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Release Date:

5 October 1967 (USA)  »

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Did You Know?


Joe Spencer was an actual member of a motorcycle gang in real-life. See more »


Referenced in Midnight Movies: From the Margin to the Mainstream (2005) See more »

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User Reviews

The most compassionate of Warhol's movies
6 August 2001 | by (los angeles) – See all my reviews

First he's seen as meat on a stick, a himbo lathering up in a shower that's punctuated by pip-pip-pop strobe edits shoving bits of his lummoxy body in our face. Then this guy, a guido-y wannabe biker dude, seems like more of an unconscious-hustler type (like the young dude in MY HUSTLER), gets turned loose on the Factory gang. First he becomes less than a pornographic object of desire: his meanness, his homophobic bullying, his self-satisfaction with his own unapparent cleverness all make him distasteful--the rough trade Andy brought to the party who then spoiled it for everyone. Then we get to know him better, hear him talk in depth about himself--and it's wan stuff about his job history. He comes to seem like a hurtin', hurt-dealin', profoundly unreflective guy--someone, to put it delicately, without a lot of resources. But then there are these amazing moments when the Warhol crew is struck dumb by him--either by his crude hostility or by his near-mute, cowlike perceptions that bowl them over in their childish truthfulness. And these druggy sophisticates come to seem suddenly, crashingly vulnerable too. It would be easy to hand all the credit to Paul Morrissey here; his influence is obvious (though the movie is a superior version of later, Morrissey-credited pictures like TRASH and HEAT). But in its biggest, abstractest shapes--the war-dance between looks without brains and brains without looks--it's quintessentially Warholian.

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