27 September 2011
22 September 2011
photo by Brad Johnson, via
The widespread appeal of the Hell's Angel's is worth pondering. Unlike most mother rebels, the Angels have given up hope that the world is going to change for them. The assume, on good evidence, that the people who run the social machinery have little use for outlaw motorcyclists, and they are reconciled to being losers. But instead of losing quietly, one by one, they have banded tighter with a mindless kind of loyalty and moved outside the framework, for good or ill. They many not have an answer, but at least they are still on their feet. . . .
There is an important difference between the words "loser" and "outlaw." One is passive and the other is active and the main reasons the Angels are such good copy is that they are acting out the day-dreams of millions of losers who don't wear any defiant isignia and who don't know how to be outlaws. he freest of every city are thronged with men who would pay all the money they could get their hands on to be transferred -- even for a day -- into hairy, hard-fisted brutes who walk over cops, exert free drinks from terrified bartenders and thurden out of town on big motorcycles after raping the banker's daughter.
Hunter S. Thompson, Hell's Angels: A Strange and Terrible Saga
17 September 2011
13 September 2011
I w.as obsessed with this movie, and, while I think it's one of the best movies from a generally crappy decade, I'm still not sure why it caught my attention so deeply. Lots of good insight from Friedkin below.
09 September 2011
02 September 2011
From the BFI Flikr:
On the inside cover of his personal shooting script, Dirk Bogarde picked out his scenes and tied them together. Here, we can exclusively see character Melville Farr's occurrences in Basil Dearden's Victim (1961) from start to finish.