| Photos (See all 54 | slideshow) | Videos (see all 6) |
| Peter Fonda | ... | Wyatt | |
| Dennis Hopper | ... | Billy | |
| Antonio Mendoza | ... | Jesus | |
| Phil Spector | ... | Connection | |
| Mac Mashourian | ... | Bodyguard | |
| Warren Finnerty | ... | Rancher | |
| Tita Colorado | ... | Rancher's Wife | |
| Luke Askew | ... | Stranger on Highway | |
| Luana Anders | ... | Lisa | |
| Sabrina Scharf | ... | Sarah | |
| Sandy Brown Wyeth | ... | Joanne (as Sandy Wyeth) | |
| Robert Walker Jr. | ... | Jack (as Robert Walker) | |
| Robert Ball | ... | Mime #1 | |
| Carmen Phillips | ... | Mime #2 | |
| Ellie Wood Walker | ... | Mime #3 (as Ellie Walker) | |
| Michael Pataki | ... | Mime #4 | |
| Jack Nicholson | ... | George Hanson | |
| George Fowler Jr. | ... | Guard | |
| Keith Green | ... | Sheriff | |
| Hayward Robillard | ... | Cat Man | |
| Arnold Hess Jr. | ... | Deputy | |
| Buddy Causey Jr. | ... | Customer #1 | |
| Duffy Lafont | ... | Customer #2 | |
| Blase M. Dawson | ... | Customer #3 | |
| Paul Guedry Jr. | ... | Customer #4 | |
| Suzie Ramagos | ... | Girl #1 | |
| Elida Ann Hebert | ... | Girl #2 | |
| Rose LeBlanc | ... | Girl #3 | |
| Mary Kaye Hebert | ... | Girl #4 | |
| Cynthia Grezaffi | ... | Girl #5 | |
| Colette Purpera | ... | Girl #6 | |
| Toni Basil | ... | Mary | |
| Karen Black | ... | Karen | |
| Lea Marmer | ... | Madame | |
| Cathé Cozzi | ... | Dancing Girl | |
| Thea Salerno | ... | Hooker #1 | |
| Anne McClain | ... | Hooker #2 | |
| Beatriz Monteil | ... | Hooker #3 | |
| Marcia Bowman | ... | Hooker #4 | |
| David C. Billodeau | ... | Pickup Truck | |
| Johnny David | ... | Pickup Truck | |
| rest of cast listed alphabetically: | |||
| Susan Brewer | ... | Woman in Commune (uncredited) | |
| Bridget Fonda | ... | Child in Commune (uncredited) | |
| Justin Fonda | ... | Child in Commune (uncredited) | |
| Virgil Frye | ... | Biker (uncredited) | |
| Dan Haggerty | ... | Man in Commune (uncredited) | |
| Randee Lynne Jensen | ... | (uncredited) | |
| Helena Kallianiotes | ... | Woman in Commune (uncredited) | |
| Carrie Snodgress | ... | Woman in Commune (uncredited) | |
Directed by | |||
| Dennis Hopper | |||
Writing credits | ||
| Peter Fonda | (written by) & | |
| Dennis Hopper | (written by) & | |
| Terry Southern | (written by) | |
Produced by | |||
| Peter Fonda | .... | producer | |
| William Hayward | .... | associate producer (as William L. Hayward) | |
| Bert Schneider | .... | executive producer | |
| Bob Rafelson | .... | producer (uncredited) | |
Cinematography by | |||
| László Kovács | (director of photography) (as Laszlo Kovacs) | ||
| Baird Bryant | (uncredited) | ||
Film Editing by | |||
| Donn Cambern | |||
Art Direction by | |||
| Jeremy Kay | (as Jerry Kay) | ||
Makeup Department | |||
| Virgil Frye | .... | makeup artist | |
Production Management | |||
| Paul Lewis | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Len Marsal | .... | second assistant director | |
| Paul Lewis | .... | assistant director (uncredited) | |
Art Department | |||
| Robert Vincent O'Neill | .... | property master (as Robert O'Neil) | |
Sound Department | |||
| James Contrares | .... | boom operator | |
| Le Roy Robbins | .... | sound mixer | |
| James Nelson | .... | supervising sound editor (uncredited) | |
Special Effects by | |||
| Steve Karkus | .... | special effects | |
Stunts | |||
| Tex Hall | .... | stunt gaffer | |
| Gary Littlejohn | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Richmond L. Aguilar | .... | gaffer (as Richmond Aguilar) | |
| Guy Badger | .... | generator operator | |
| Foster K. Denker | .... | electrician (as Foster Denker) | |
| Peter Heiser | .... | assistant camera (as Peter Heiser Jr.) | |
| Melton Maxwell | .... | best boy (as Mel Maxwell) | |
| Tom Ramsey | .... | key grip (as Thomas Ramsey) | |
| Peter Sorel | .... | still photographer | |
| Les Blank | .... | second camera operator (uncredited) | |
| Larry Lapointe | .... | electrician (uncredited) | |
Editorial Department | |||
| Henry Jaglom | .... | editorial consultant | |
| Marilyn Schlossberg | .... | post-production | |
| Stan Siegel | .... | assistant editor (as Stanley Siegel) | |
| Bruce Conner | .... | editorial consultant (uncredited) | |
Music Department | |||
| Mike Deasy | .... | musician (uncredited) | |
Transportation Department | |||
| Lee Pierpont | .... | transportation | |
Other crew | |||
| Joyce King | .... | script supervisor | |
| Tony Vorno | .... | location manager | |
| Dan Haggerty | .... | motorcycle builder (uncredited) | |
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| Easy Rider: The Ride Back | The Girl on a Motorcycle | Freeway | The Motorcycle Diaries | Edge |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
There is so much going on in the multi-layered Easy Rider. For one thing, it doesn't glorify hippies. In fact, Hopper and Fonda are really just businessmen, out to make the big score. They're quintessentially American -- Fonda calls himself Captain America, and wears an American flag on his leather jacket, and has red, white and blue painted on his chopper's gas tank. These guys really just want to make money, not change society. If it were the 80's, they'd be selling computers. Also, some interesting symbolism -- Fonda puts the stash of money resulting from the drug sale in his gas tank -- in other words, money fuels the American dream.
This film is also an anti-Western. Instead of heading west, these guys head east. They pass through Monument Valley, site of many John Ford westerns. At an early point, they fix their choppers in a barn while a farmer fixes the horseshoes for his horse.
There is a structure to this seemingly freewheeling tale: the trip starts out idealistically. After they go to the commune, Fonda and Hopper skinny-dip with two hippie chicks in a bucolic, peaceful setting. The music is laid-back, the Byrds, the drug used is marijuana. It's an idealized example of "free love." Later, in New Orleans, our two heroes hook up with two prostitutes -- so much for free love. Fonda breaks down during an acid trip, and instead of music we hear the jarring sounds of an industrial, urbanized landscape -- geographically and symbolically far away from that Arizona commune.
This film doesn't glorify the hippie ethos -- in fact, it almost seems like a neo-conservative critique on the limitations of the hippie experience. Late in the film, Fonda tells Hopper, "We blew it," a line that prefigures the ultimate disillusionment that set in during the early 70's, when the Age of Aquarius gave way to Watergate, malaise, Reagan and rampant consumerism.