Netting a hefty profit from their latest drug deal, hippies Wyatt and Billy decide to outfit themselves with among other things motorbikes - Wyatt complete in what they call his Captain America gear and similar motif on the bike - and chucking any structure in their lives beyond the want to get there for the event, cycle from their home base of Los Angeles to New Orleans for Mardi Gras in just over a week. They don't plan to spend their proceeds on this trip - they saving that for a more carefree life in Florida after the fact - they sleeping in the great outdoors along the way. While Wyatt is more easy going, believing in the karmic nature and practicality of helping others when they can and in turn asking for help when they need it, Billy is a little more suspicious of the people they encounter, especially in hiding their wad of cash that is stuffed into the gas tank of Wyatt's bike, that money their future. They will find that not all counter-culturalists have the exact same ...Written by
Dennis Hopper asked reclusive supermarket tycoon Huntingdon Hartford to finance the film. Hartford replied that he would give him the money on the condition that they levitate. He said, "A man with your kind of passion should be able to levitate". A dumbfounded Hopper stood there for a few seconds and briefly thought he could do it. He eventually turned to Peter Fonda and said, "Let's get the fuck outta here". See more »
In the jail scene where they first meet George, you can see the shadow of the boom mic on the wall as George and Billy walk across the jail cell after Billy is given a cigarette by the guard. See more »
In this counterculture film, we have a spaced-out trio of Peter Fonda, Dennis Hopper, and a funny Jack Nicholson tooling down the "high"way, on motorcycles and "stuff", en route from L.A. to Mardi Gras. As artistic expression during an angry era of war and social change, the film communicates a powerful philosophy, in lieu of a complex plot.
Most scenes take place outdoors, in the American South and Southwest. Laszlo Kovacs' adroit cinematography, combined with an expansive soundtrack, hippie lingo, and "cool" clothes, convey the film's underlying message of individual freedom and nonconformity. The film is significant in that it was one of several successful 60's films made by individuals outside the traditional Hollywood studio structure. As such, "Easy Rider" broke new ground in film-making.
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