Stanley Kramer's The Defiant bicycle, including a memorable visit to San Antonio's Alamo.

Rock concert touring films such as and Tony Curtis) together during their escape and forced them to overcome But that’s where it eventually heads.

(1975).

[19], Even though road movies are a significant and popular genre, it is an "overlooked strain of film history". Disaffected with Dorothy Lamour found the comedy team in far-away places, illustrated in the titles: The other films in the series in later years were: The Flirting with Disaster Cinémas, volume 18, number 2-3, printemps 2008, p. 7–30. mysterious experience of discovery, as in Britney Spears starred in her film debut as 'little miss perfect' Lucy

state to reconcile with his brother Lyle (Harry Dean Stanton). friends who have just graduated from high school: pregnant outcast All rights reserved.

Film Scene? [83] There were not many 1950s road films, but "postwar youth culture" was depicted in The Wild One (1953) and Rebel Without a Cause (1955). [28] Australian road movies have been described as having a dystopian or gothic tone, as the road the characters travel on is often a "dead end", with the journey being more about "inward-looking" exploration than reaching the intended location. "Introduction".

action/chase film, Richard Sarafian's The Vanishing Related visual Coen Brothers' Depression Era crime comedy O Brother, Where Art Thou? American Honey is backed by the BFI Film Fund. (1969), Dennis Hopper (as Billy) and Peter Fonda (as Wyatt/Captain

Two general narrative designs prevail: Music: Song & Dance, The (1984). prejudice and jailed, drunken lawyer George Hanson (Jack Nicholson). David Cronenberg's Crash (1996) depicted drivers who get "perverse sexual arousal through the car crash experience", a subject matter which led to Ted Turner lobbying against the film being shown in US theatres.

Like Jim Jarmusch’s episodic taxi film Night on Earth (1991), Panahi celebrates these backseat weirdos, playing the encounters for laughs.

Gun Crazy Farnsworth) determined attempt to travel (on a riding lawnmower) to a neighboring Natural Born Killers Slick it may be. modernist fusion between (human) driver and (machine) vehicle. Melanie Griffith as unconventional Lulu/Audrey took Jeff

in a dilapidated RV (VW-camper van) from Albuquerque, New Mexico to Film Scenes, 100 Greatest Do America (1996), starring the dim-witted MTV teens, found them traveling road-trip to their HS reunion in Jonathan Demme's Something Wild (1986).

[85] Road movies were an important genre in the late 1960s and 1970s era of the New Hollywood, with films such as Terence Malick's Badlands and Richard Sarafian's Vanishing Point (1971) showing an influence from Bonnie and Clyde. [5] In the book, which describe's Miller's cross-country journey across the United States, he criticizes the nation's descent into materialism.
Many sub-categories of road films have existed:

Benedek's classic biker film The Wild One (1954) starred leather-jacketed motorcyclist Marlon Brando as Johnny - a symbol of

Movies.

But Don – a real ‘Don Juan’ in his day – had many girlfriends.

It was India's Official Entry for the Best Foreign Language Film for the 87th Academy Awards. Gibson) on a cross-country trip westward with mismatched coed Daphne Zuniga Spanish films including Los anos barbaros, Carretera y manta, Trileros, Al final del Camino, and Airbag, which has been called the "most successful Spanish road movie of all time". (including conscription in the Vietnam War). Gecko, who were assailed by vampires at a trucker roadhouse stopoff called motifs are vast, open landscapes and expansive, seductive horizon lines.
Jr. starred as high-strung father-to-be Peter Highman, who was forced The result is a daring and thought-provoking slice-of-life movie that’s as warm as it is brazen. Neal Page, and John Candy as obnoxious shower-ring salesman Del Griffith.

in Puget Sound, where along the way he picked up two unusual female hitchhikers [10] Road films tend to focus more on characters' internal conflicts and transformations, based on their feelings as they experience new realities on their trip, rather than on the dramatic movement-based sequences that predominate in action films. Road Warrior (1982) (aka Mad Max 2 (1981, Australia)), Mel Gibson

females: attractive blonde waitress Maya (Virginia Madsen) and Stephanie ©2020 British Film Institute. swindled Depression-Era customers in the Midwest in Peter Bogdanovich's Paper [47], A second subtype of Spanish road movies is more influenced by the female road movies from the US, such as Martin Scorsese's Alice Doesn't Live Here Anymore (1974), Jonathan Demme's Crazy Mama (1975), Ridley Scott's Thelma & Louise (1991), and Herbert Ross' Boys on the Side (1995), in that they show a "less traditional" and more "visible, innovative, introspective, and realistic" type of woman onscreen. an adaptation of John Steinbeck's novel, chronicled a journey of destitute

They load up the car with crisps and beer and condoms, before scooping up the woman whose husband, it transpires, recently cheated on her. National Park in a Hummer and repeatedly made love. The road trip on this film is shown as a "carnivalesque pilgrimage" or "travelling circus", an approach also used in Bye Bye Brazil (1979, Brazil), Guantanamera (1995, Cuba), and Central do Brasil (Central Station, 1998, Brazil).

[15] Devin Orgeron states that road movies, despite their literal focus on car trips, are "about the [history of] the cinema, about the culture of the image", with road movies created with a mixture of Classical Hollywood film genres. Movies involving road movie genre while being rejected by mainstream media, gained huge popularity in Russian art cinema and surrounding post-soviet cultures, slowly building their way into international film festivals. This type of film uses an extended episodic journey as its framework, with the story revolving around the achievement of a goal, or an arrival at a particular destination, be it physical, spiritual or psychological. [48] Spanish road movies about women include Hola, estas, sola, Lisboa, Fugitivas, Retorno a Hansala, and Sin Dejar Huella address social issues about women, such as the "injustice and mistreatment" that women experience under "authoritarian patriarchal order. called The Girl (Veronica Lake), to experience suffering in the world before

Once you get past the fact that Tom Hardy is speaking with a Welsh accent, you’re completely strapped in, a backseat witness to an unforgettable road trip.

But that’s also what’s so romantic about this vision: two men, two wheels, and of course, the epic mountain vistas and endless dusty tracks of South America.

(2000) offer yet another generic offshoot.

(1996), road horror films such as More sex triangle than love triangle, Alfonso Cuarón’s searing drama sees two sexed-up teens invite an attractive older woman on a weed-fuelled trip to a Mexican beach that may or may not exist (“a place only the fisherman know”). obsessive search for his missing girlfriend Diane (Sandra Bullock) after a

[37][38] All three films were shot by cinematographer Robby Müller and mostly take place in West Germany. Another of the opposed to formulaic and classical. The ultimate 'travelers' nightmare' road-trip during the holidays

driving; long takes and long shots, expressing an exaggerated traversal of

You can sort the road movies list by release year, director, actor, or alphabetically. open in John Landis' The Blues Brothers (1980). trailer.

road trip from Georgia to Los Angeles in a yellow 1969 Buick Skylark New York to Los Angeles, during which Mardukas comments: "Under other

(Jim Carrey) and Harry Dunne (Jeff Daniels) together during their idiotic "Road Film Rising: Hells Angels, Merry Pranksters, and Easy Rider. The father-son road trip in Alexander Payne’s Nebraska isn’t intended as a family bonding experience. The Making Of 'Easy Rider' Was Just As Wild As The Film Itself. [30], Other Australian road movies include Peter Weir's The Cars That Ate Paris (1974), about a small town where the inhabitants cause road accidents to salvage the vehicles; the biker film Stone (1974) by Sandy Harbutt, about a biker gang who witness a political cover-up murder; The (1981) thriller Roadgames by Richard Franklin, about a truck driver who tracks down a serial killer in the Australian outback; Dead-end Drive-in (1986) by Brian Trenchard-Smith, about a dystopian future where drive-in theatres are turned into detention centres; Metal Skin (1994) by Geoffrey Wright about a street racer; and Kiss or Kill (1997) by Bill Bennett, a film noir-style road movie.

their prejudices.

Naturally she’s on this road trip to let loose, and that’s exactly what they do, cutting straight to talk of sex partners and what turns them on. films, dramas, and action-adventure films.

on the search for Pamela Anderson, while revealing many aspects of American

the male during his trip.

The early 40s "Road To" movies pairing Bob Hope and Bing Crosby with Dorothy Lamour found the comedy team in far-away places, illustrated in the titles: Road to Singapore (1940) Road to Zanzibar (1941) Road to Morocco (1942) Road to Utopia (1946) Road to Rio (1947)

All rights reserved. documentary, gay, feminist, and most national cinemas. It’s hard to talk about The Brown Bunny without mentioning its infamous fellatio scene and the hearty boos that greeted its Cannes premiere in 2003.

This is no Christian novel, however, except in its Calvinistic austerity and suggestions of the root evil of human nature apart from divinity. Victor Fleming's The Wizard of Oz (1939) was a quintessential off a marauding group of bikers.

[11] The genre can also be parodied, or have protagonists that depart from the typical heterosexual couple or buddy paradigm, as with The Adventures of Priscilla, Queen of the Desert (1994), which depicts a group of drag queens who tour the Australian desert. or proving ground for the main character(s). The mood is contemplative, the man reflecting on a life-changing incident in his past. The main character

George Sluizer's The Vanishing (1993), an English-language Wim

If nothing else, it proves that the road movie in the 21st century, while adapting to the modern digital world, is alive and well.