Young writer Sal Paradise has his life shaken by the arrival of free-spirited Dean Moriarty and his girl, Marylou. As they travel across the country, they encounter a mix of people who each impact their journey indelibly.
Shaken by the death of his father and discouraged by his stalled career, writer Sal Paradise goes on a road trip hoping for inspiration. While traveling, he is befriended by charismatic and fearless Dean Moriarty and Moriarty's free-spirited and seductive young wife, Marylou. Traveling across the American southwest together, they strive to break from conformity and and search the unknown, and their decisions change the very course of their lives. Written by
When Sal leaves for Denver in 1947, he crosses the George Washington Bridge, which has upper and lower decks. The lower deck was added in 1962. See more »
Alas, alas, Sal. It's not me, I'm drunk. But my soul talking direct soul language, so to speak, to my deepest blood brother and holy goof, that's you. And to be formal and analytical about it, let me objectify the characteristics I miss the most of you. Number 1 your conversation. Number 2 your brotherly smile, man. But I shall go on, so to close and get the gist Denver waits for you. Carlo in his damp grotto and clowned misery to use a paradox of expression waits for you, so get on it! Be ...
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One of the aspects this film really lacked was an understanding of the zeitgeist of Beat America in the late forties and fifties of Post-World War Two America. The conservative middle class that Ronald Reagan defended was in full swing and there were those who did not fit in and did not know where to go, and this is where the Beats fit in. It was L seven heaven square land and people with creative vision didn't have the flavor for materialism. The idea in the mind was just as secure as house in the suburbs. Plus I saw no James Joycean stream of consciousness with the speed, booze and the jazz. Where was the poetry? You see people moving around, dancing, snapping fingers and being "hip" but no expression of what was going on within. The characters I saw were 21st century self-centered users, dopers, and boozers who could not afford a day of tasting wine in Napa Valley, so it's everyone else's fault. The most real character in the film that captures the sense of the time was Viggo Mortensen's Old Bull Lee/William S. Burroughs. That worked. Carlo Marx, the Ginsberg attempt should have been called Harpo Marx. I was howling at the idea that this was suppose to be the person that wrote Howl. The art direction and cinematography did keep me watching instead of leaving. But remember, it does say based on the book On The Road.
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