Two-Lane Blacktop
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Two-Lane Blacktop
(Monte Hellman, 1971)
Rating: 5/5
Reviewed by Dave Lancaster
Summary: A blunt journey through alienated Americana, Monte Hellman's 'Two-Lane Blacktop' is an existential masterpiece affording rare performances by James Taylor and Dennis Wilson.
'Two-Lane Blacktop' is a wonderful film. Why? It's hard to say. It isn't an obvious film; it doesn't follow conventional structure nor does it provide many answers. It's a travelogue of sorts, a meditation on outsider life, a race without a finish line. The 70s were filled with low budget existential dramas and this is one of the very best.
Now's the perfect time to invest. Eureka's Masters of Cinemas range has released the film on Blu-ray. It's filled with fascinating extra features and one snippet from director Monte Hellman really rings true: "The dialogue really becomes a music track. It has nothing to do with advancing the story. It's the only film I've ever made where the story is almost entirely subtext."
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It's interesting, especially after considering that quote, that the two leads are played by musicians: James Taylor and (vastly underrated Beach Boy) Dennis Wilson. They play a mechanic and a driver who are racing across America in their custom 55 Chevy.
They're here to service the car. They're not adrenaline junkies or looking for financial reward. It's almost as if they're possessed by the car and it's haunting these social outcasts across America, like a low key 'Easy Rider' on a road to nowhere. Freedom isn't glory; it's a selfish and directionless drive to make pieces fit. 'Two-Lane Blacktop' navigates this puzzle.
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Two other characters are key - one is simply known as GTO (after his car) (played by a talkative Warren Oates) with whom they race and the other is a conflicted hitchiker (Laurie Bird) who falls for the nomadic duo. No names in this film - just The Driver, The Mechanic, The Girl and G.T.O.
There's nearly two hours of extras (not including commentary) on the Masters of Cinema Blu-ray. A fascinating chat between Monte Hellman and Kris Kristofferson (who wanted Taylor's role) is both intimate and expansive. There's another conversation piece, more of a round table with some of those involved and modern critics, and there's also a couple of screentests (James Taylor talking about his house and music, and Laurie Bird doing a bit more acting). There's also a great 43-min doc following Hellman and his film students as they drive to actual locations in the film as he provides a candid commentary. More importantly the film looks and sounds (via a DTS surround mix) fantastic. Naturally fans will want to pick up this definitive release.
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