Take a look back at the talented actors and actresses who took home a Golden Globe for Best Actor/Actress in a Motion Picture – Drama since the category was created in 1951.
The Driver and The Mechanic are 2 car freaks driving a 1955 Chevy through the southwestern U.S., looking for other cars to race. They're totally dedicated to their car, and speak with each other only when necessary. At a gas station, the pair (along with a girl who's ingratiated herself into their world) meet G.T.O; a middle-aged man who fabricates stories and. It's decided to have a race to Washington, D.C., where the winner will get the loser's car.Written by
Rick Gregory <rag.apa@email.apa.org>
Richard Linklater counts sixteen reasons as to why he loves Two-Lane Blacktop: (01) Because it's the purest American road movie ever. (02) Because it's like a drive-in movie directed by a French new wave director. (03) Because the only thing that can get between a boy and his car obsession is a girl, and Laurie Bird perfectly messes up the oneness between the Driver, the Mechanic, and their car. (04) Because Dennis Wilson gives the greatest performance ever . . . by a drummer. (05) Because James Taylor seems like a refugee from a Robert Bresson movie, and has the chiseled looks of Artaud from Dreyer's The Passion of Joan of Arc. (06) Because there was once a god who walked the earth named Warren Oates. (07) Because there's a continuing controversy over who is the actual lead in this movie. There are different camps. Some say it's the '55 Chevy, some say it's the GTO. But I'm Goat man, I have a GTO-'68. (08) Because it has the most purely cinematic ending in film history. (09) Because it's like a western. The guys are like old-time gunfighters, ready to outdraw the quickest gun in town. And they don't talk about the old flames they've had, but rather old cars they've had. (10) Because Warren Oates has a different cashmere sweater for every occasion. And of course the wet bar in the trunk. (11) Because unlike other films of the era, with the designer alienation of the drug culture and the war protesters, this movie is about the alienation of everybody else, like Robert Frank's The Americans come alive. (12) Because Warren Oates, as GTO, orders a hamburger and an Alka-Seltzer and says things like "Everything is going too fast and not fast enough." (13) Because it's both the last film of the sixties-even though it came out in '71-and also the first film of the seventies. You know, that great era of "How the hell did they ever get that film made at a studio?/Hollywood would never do that today" type of films. (14) Because engines have never sounded better in a movie. (15) Because these two young men on their trip to nowhere don't really know how to talk. The Driver doesn't really converse when he's behind the wheel, and the Mechanic doesn't really talk when he's working on the car. So this is primarily a visual, atmospheric experience. To watch this movie correctly is to become absorbed into it. (16) And, above all else, because Two-Lane Blacktop goes all the way with its idea. And that's a rare thing in this world: a completely honest movie. See more »
Goofs
At the garage where the race is being set up, watch the crank of the hand mangle as it mysteriously changes its position throughout the clips. See more »
Quotes
G.T.O.:
Everything fell apart on me. My job, my family, everything. I had this job as a television producer and I walked into the office and I...
The Driver:
I don't wanna hear about it.
G.T.O.:
What do you mean, you don't wanna hear about it?
The Driver:
It's not my problem.
See more »
Two Lane Blacktop is, together with Red Line 7000, perhaps the best film about car racing ever made.
The absence of plot and the minimal characterization reminds of another american film of the 70's, Walter Hill's `The Driver. What that film was for the noir genre this one is for the road-movie, a type of picture that was reaching its height around the time.
Monte Hellman, a crafted director that got his apprentice under the wings of Roger Corman, presents an empty world of wasted landscapes, forgotten towns and sleepy gas stations populated by ghostly and vanishing archetypes. They appear whenever they are needed, perform their actions and disappear immediately, as those hitchhikers picked up by G.T.O. that work as samples of possibilities of America.
Car racing is reputed to be a passion, but the people over here is deprived of feelings. They drive continually, there where the wind blows or whenever there's a chance to make money to keep-on going. They hardly talk with each other, and when they do it seems that they are not listening. The impressive cast is led by two rock stars (James Taylor and Dennis Wilson of the Beach Boys) and the icon Warren Oates. Despite their apparent differences they all constitute a single and exchangeable character, shown by a number of movements taking place throughout the film -driving each other's cars, behind the wheel or at the front seat, competing against each other or together performing a task.
This is an exercise of form, a raw vision of a country falling into pieces with nowhere to go, lost in cyclical repetition and in the eve of self-destruction, as the outstanding last frame of the film burning the screen poetically concludes.
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Two Lane Blacktop is, together with Red Line 7000, perhaps the best film about car racing ever made.
The absence of plot and the minimal characterization reminds of another american film of the 70's, Walter Hill's `The Driver. What that film was for the noir genre this one is for the road-movie, a type of picture that was reaching its height around the time.
Monte Hellman, a crafted director that got his apprentice under the wings of Roger Corman, presents an empty world of wasted landscapes, forgotten towns and sleepy gas stations populated by ghostly and vanishing archetypes. They appear whenever they are needed, perform their actions and disappear immediately, as those hitchhikers picked up by G.T.O. that work as samples of possibilities of America.
Car racing is reputed to be a passion, but the people over here is deprived of feelings. They drive continually, there where the wind blows or whenever there's a chance to make money to keep-on going. They hardly talk with each other, and when they do it seems that they are not listening. The impressive cast is led by two rock stars (James Taylor and Dennis Wilson of the Beach Boys) and the icon Warren Oates. Despite their apparent differences they all constitute a single and exchangeable character, shown by a number of movements taking place throughout the film -driving each other's cars, behind the wheel or at the front seat, competing against each other or together performing a task.
This is an exercise of form, a raw vision of a country falling into pieces with nowhere to go, lost in cyclical repetition and in the eve of self-destruction, as the outstanding last frame of the film burning the screen poetically concludes.