A central American woman hires an American hit man to assassinate the former dictator of her island country. The plan is foiled by another American while attempting to save the lives of his... See full summary »
Paul Groves (Peter Fonda), a television commercial director, is in the midst of a personality crisis. His wife Sally (Susan Strasberg) has left him and he seeks the help of his friend John (Bruce Dern), a self-styled guru who's an advocate of LSD. Paul asks John to be the guide on his first "trip". John takes Paul to a "freak-out" at his friend Max's (Dennis Hopper) pad. Splitting the scene, they score some acid from Max and return to John's split-level pad with an indoor/outdoor pool. Paul experiences visions of sex, death, strobe lights, flowers, dancing girls, witches, hooded riders, a torture chamber, and a dwarf. He panics but John tells him to "go with it, man." Would you trust John? Written by
Bruce Dern's line "Turn off your mind, relax, and float downstream" is from The Beatles' song "Tomorrow Never Knows", which John Lennon wrote as a summation of his reading of "The Psychedelic Experience", which in turn was adapted from "The Tibetan Book of the Dead". See more »
You're stoned out of your mind, aren't you? Oh man. What's the matter with you guys, isn't the real world good enough for you, love freak?
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There are no opening credits. The title of the movie only appears onscreen once: above the pre-movie disclaimer. See more »
Once again, like many films of the same time, The Trip is often misunderstood for a campy, cheap exploitation of a once vibrant time 'too often reduced to nostalgic simplicities.' The Plot goes as follows: Peter Fonda plays a film director that is bummed out by his wife (Susan Strasberg) and pending divorce. So to cool out, he takes LSD from a psychologist-type who is making records of 'controlled' LSD experiments (played by Bruce Dern). The film seems to hold it together during the first 30 minutes or so, but loses it's place when the weird acid trips happen (note the creepy scene where Fonda dies and goes to some kind of hell inhabited by horsemen, knights, and dwarfs). Overall, this is an entertaining little time capsule filled with twists and old film techniques. But I still cannot stress enough the arrogance of a man who tries to capture an LSD trip on camera for the silver screen. Even though the film did do moderately well at the box-office (for 1967, that is), mind expansion enthusiasts, like myself, might find the LSD depictions to be a bit funny at times, and the dialogue to be typical for a film of its kind. But for all personal shortcomings, I recommend this film because it is a true original.
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