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Those who win in a rigged game get stupid.
~ Michael C. Ruppert
In his essay for the New York Times, Walter Salles posed the question: ‘In a world in which there’s no more “away” and in which distance has disappeared, do road movies still have a reason to exist?’ This, I believe, is a vital question when discussing whether the road movie still has validity as a dynamic genre – in this world flooded with media, images and documentary, does the road movie still serve a purpose and provide escape? Through discussion of Salles’ essay, his film Motorcycle Diaries, and with a look at two Australian road movies of recent years, I aim to provide arguments for road movies as a genre that is still important and changing.
Later this year we shall see the release of On the Road, an adaptation of the beat generation’s most famous novel by Jack Kerouac. Walter Salles, who directed the film, wrote an essay in 2007 Notes for a Theory of the Road Movie in which he discussed the history, purpose and philosophy of road films, a genre he has contributed to several times. He talked of the origins of road stories as being very much a part of us, an inescapable part of our being dating back not only to the Odyssey but, by Wim Wenders’ thinking, right into humanity’s ‘nomadic roots, in mankind’s primal need to leave an account of its passage’. With the introduction of paper came the ability to write it down, with the introduction of photography we took images, and when film arrived we combined the story and the image to tell tales of travel in a new, more universally expressive medium. Salles puts much emphasis on early documentary filmmakers as being the pioneers of this genre, and notes that even early fictional road films were about the frontier – stories and images from places most people would never see. Road films, Salles suggests, have three purposes: ‘about the discovery of new lands’, ‘about a national identity in construction’ and, later, ‘to show national identities in transformation’. He believes in this genre that character and nation/surrounds must undergo similar transformations, that ‘the identity crisis of the protagonist mirrors the identity crisis of the culture itself’. I believe he is right, that the truly impressive and lasting films depict a tale of change that is shown not only in the protagonist, but reflected in a larger scale by the landscape in which he lives.
Motorcylce Diaries is a perfect example of this. The film is based on the diaries of Ernesto “Che” Guevara as he travelled around South America in his youth, as he saw first-hand the poverty and inequality that plagued the nations. The film follows the normal road film structure, in that events are more episodic in nature rather than building in a three-act structure. What occurs in the film is generally guided by the character’s internal conflicts and much emphasis is placed on the physical surroundings as an influence for change, rather than other characters or events. Characters do, of course, play a major part but it is more the protagonist’s observation of them rather than their direct influence. ‘In road movies, a moment of silence is generally more important than the most dramatic action,’ more significant, more tolerated because of film form, and generally more beautiful. At the time Guevara was making his journey, there was growing communist movement amongst the displaced native people. As Ernesto meets people in this movement it is seen to be growing in his thinking as well. The film works well by using excerpts from the diaries as a monologue for Ernesto, revealing his internal thoughts as they move from place to place. In this way Salles makes clear that the socio-political change was affecting his protagonist as well, bringing about slow but drastic change.
This social reflection, I believe, is what makes the road movie so effective as a genre. While the story is always about the protagonist, it is afforded powerful subtext through the setting. This is the case within On the Road as well, while Sal and his companions travel and the story rambles with them in spontaneous prose style, what is revealed throughout the novel is a social change and state of the time. Kerouac tells stories of characters, strange people and places, but what is revealed is the rising beat and jazz generations. When Sal faces financial struggle, it is reflecting the economic crisis being faced by the nation. When they travel to Mexico it is as carefree tourists, but shows economic squalor and unfamiliar culture. America was still very much a nation in a state of discovery and change. ‘In the 50s there was still a country to be mapped,’ said Lawrence Ferlinghetti. ‘We didn’t know what we would find at the end of the road.’
Salles often talks of the crossover between road films and documentary, a necessary crossover according to him. Combining fiction with real world, mixing actors with non-actors, ‘a defining aspect of this narrative form is unpredictability,’ and he insists on entwining reality encountered through filming with the narrative. He also says ‘they are about experiencing, above all… what can be learned from the other, from those who are different.’ I see this as of major importance to the genre. Not only must they reveal character, but they must provide insight into lives which the viewer would otherwise not experience, and ideally they should demonstrate a socio-political point or message through these “others”. A great road movie will provide a philosophical exploration into the human psyche. William C Permeleau wrote ‘In the modern world, where an accessible media makes us aware of the differences that culture, place and time can produce, we are also aware that it is only by chance that we have experienced the world views we were raised with.’ This is an important observation for greater understanding and can only be revealed by exploration and exposure.
Permeleau also raises the point of media, the constant exposure which we must temper within ourselves. Modern society involves a constant flow of imagery and information. The paradoxical nature of road films is that they simultaneously contribute to this culture as well as provide a temporary escape from it – two very basic human desires. ‘Freedom is the one aspect of human nature that we cannot escape,’ and it is this nature that incites us to see films. Never is the sense of freedom more clearly apparent than in the road movie. A film like Into the Wild combines this philosophy of freedom with the wild unknown and makes exquisite use of the film medium to capture images from genuine wild and bring them to our home screen, while showing Chris McCandless’ personal protest to this culture. To this conundrum I have no argumentative solution.
Concerning Australian road movies for Australian viewers, I believe the genre has another purpose, as mentioned by Salles before, to show a national identity in construction. Australia is a very young country with such a varied mix of borrowed and stolen culture that a national identity is very difficult to define. As well as this, we have a vast and mostly unexplored landscape which can be as harsh as it can be beautiful, making it very dramatic for the purpose of story. This confusion of place and vastness of space were both successfully explored in The Adventures of Priscilla, Queen of the Desert. This film followed the personal identity crisis of Tick as he made his way from Sydney to Alice Springs, and reflects his search for self with the search for a place in society. The film follows road film convention in its narrative structure and explores and celebrates large, neglected parts of the nation’s natural beauty.
In more recent years Bran Nue Dae has made another important contribution to the genre, not only for social reasons but also stylistically. Films about aboriginal culture have grown in number and variety, often reflecting the unhappy loss of culture and unacceptance of western society. Films like Samson & Delilah and Rabbit Proof Fence deliver a powerful message as to these struggles. It is rare, however, for a large film to cast a happy and positive light on semi-modern aboriginal culture, and this is where Bran Nue Dae has its place. The film attracted a great deal of attention, partly due to its cast of well-known actors (Geoffrey Rush, Ernie Dingo, Magda Szubanski) but also because of production value – this was a very clean, colourful film, the tone of which is not often seen in Australia. It tells a similar story to Priscilla – search for self, search for home – and stars a large Aboriginal cast. The film also shows secluded Australian locations and vast landscape, but breaks from tradition in that it is very much external influences and other characters that push the narrative. I believe that films like this are important in modern culture, not only to reflect the issues that face social inequality, but to make change through positive depiction, to give face and voice to modern aboriginal Australia.
The road movie remains a changing genre and force for change, the definition of dynamic. So long as there are unexplored territories in the human mind and on the road, there is a place for road movies, most especially in countries undergoing change and growth. I believe it is a powerful genre and one that will persist as long as film does, and when we find space or a new medium, the road will go there too.
So, 7.7 standards, plus whatever is in an Asahi and I’m considering something which I’ve previously determined worthy of contemplation, but never dedicated enough time to: Am I worth this industry’s time?
I cannot network to save myself. At least, not as I should be. When someone says to me “do you know a really good… [insert actor/photographer/something else artistic]” I’m grand, I know those people. But does that equate to a person who can function within such a who-you-know specific industry? Who knows. I struggle to comprehend whether the people in this world have always been good at this job or if, like me, they started out as I have – a person with vision and image and artistic intention, but without the dedication to knowing everything that occurs in the industry… Just as much as I can.
I hope, and I strive. That’s the best I can offer.
It’s one thing to be a fan of science fiction, and have your love of the far unknown transferred frequently to screen time and again effectively. It’s quite another to also love fantasy novels, and be perpetually disappointed each time a new film or series comes out with poor treatment, little budget and no dignity. Lord of the Rings brought about a change, I suspect, but lacked the darker edge.
But when HBO gets a job, they do it right.
Admittedly, the Game of Thrones series is less ‘fantasy’ than some – no dragons or magic. The idea is the same, however. It’s a non-existent land filled with imaginary thrones for which battles are fought. The politics are exciting, the themes dark and haunting, the scale enormous and the characters are revolting. Episode one was exquisite and I’m so very excited for more.
Oh yes, and it’s beautiful.
Nan Goldin photograph
This is fucking fascinating. I’ve recently become friends with a person who, it would seem, is a sociopath. The word seems absurd for a moment as it tends to be very poorly understood, but I’ve been learning and good. lord. this is interesting.
So I’ll be studying, hopefully relating, and at the same time aiming to not become one of the “victims” so often mentioned when discussing sociopaths (mental and emotional control is common) and I think it would prove fascinating for a filmic study. Thoughts of Nan Goldin flutter somewhere in the back of my mind (love that photo of hers up top).
Moffat has achieved this beautifully with his Sherlock character in recent times. The style and structure of that show excites me a lot, I am very much looking forward to the second bout (Dr Who first, then more Holmes). Sherlock is portrayed beautifully by Benedict Cumberbatch (wonderful name) and the scripting and characters are very well put together. Basically, I’m not good at reviews so just go watch it.
Furthermore, I love metadata. So I’ll be employing a little of that, links where possible. Fun fun fun.
There’s something magical and completing about a good score.
When I was a young kid we had a tv-recorded VHS of Superman: The Movie [1978], which is great… except someone had recorded over it from the end of the opening credits. As I say, I was young, so every so often I would pop that video in and hit play, and I would sit and watch and get excited by the music – my mind would go crazy imagining Superman’s adventures. Then the credits would end it would go grey-fuzzy and some other thing would start.
Every time I watched it, I would hope that maybe this time it wouldn’t finish, the movie would go on (yes, by magic if necessary) and whenever it cut out I would rewind it and put it aside for another time.
There is a scene from Mulholland Drive, set in a diner. One man tells another of a terrifying dream. I’ve only seen it twice, and now I cannot share it as the studio has removed all videos of this scene online. If you get a chance, though, track down the film and (after appreciating how excellent Lynch’s work is) re-watch just that one scene. It’s quite possible the most effective terrifying single scene I’ve ever been exposed to. It’s all suspense and terror and you’ve no idea why.
Once I’ve found a copy, I’ll watch it over and over – I must know how he did that.
I hope to do typography at some point in this course so I can mimic this excellence –
Network ‘Mad As Hell’ Typography
And the film scene – see the film if you haven’t. Network is an excellent film, all dreary drama and one hell of a finish.
Here, for those who haven’t already entertained the notion, is a youtube collection of fantastic typography examples:
Film Student 