On The Road

In the late 1940’s when America was still in a daze from the war, and in the early stages of a new, particularly cold one, a group of writers based in New York began to travel the country.

Their journeys were full of hedonistic, atavistic and iconoclastic binges of sex, drugs and jazz. Despite the substances coursing through his blood, Jack Kerouac, a core member of the ‘Beat Generation’, managed to document his journeys with his friends, and collated them into the spontaneous (although heavily edited) cult novel ‘On The Road’

Since its publication in 1957, many have attempted to adapt the novel that ‘defined a generation’ to screen, but never made it (Kerouac wanted to act alongside Marlon Brando). That was until Francis Ford Coppola acquired the rights in 1979, eventually bringing in Walter Salles (of ‘The Motorcycle Diaries’ fame) to direct. Screenwriter Jose Rivera was drafted in to perfect the script. In 2008 however, the shit hit the economic fan and the production lost most of its $35 million budget, eventually being saved by MK2 Productions who invested a more modest $25 million.

With his new budget, Salles convinced the original cast to stick around. This included Sam Riley (‘Control’) who plays Sal Paradise, the shy narrator of the novel, a pseudonym for Kerouac himself. Garret Hedlund as Dean Moriarty (Sal’s best pal and alias for real life Neal Cassady). Kristen Stewart was brought in for the role of Marylou after Salles saw her in ‘Into the Wild’, whilst Kirsten Dunst, a big fan of Kerouac’s works, requested to play Camille. Viggo Mortensen also has a small role as Old Bull Lee, the sage of the gang who is based on experimental author William S. Burroughs.

After what was described as an intensive ‘guerrilla shoot’ in a number of locations (the end credits listed too many to count), the film was released to mixed reviews in early 2012.
Everything visual about the film, lighting, location, period sets, camera movement etc., hits the proverbial spot straight and true, yet it was lacking in other areas.

People who are familiar with the book will be able to keep up with the films jumpy narrative, but for those who don’t know Kerouac’s work, good luck. The film was a passion project for Salles, and the general audience seems to have slipped his mind. Due to this, I feel the film’s actual story will remain a mystery to those who are not Kerouac literate. While the rest of us Kerouacians laugh it up in the Beat Generation club they won’t have a clue what’s happening on screen. Although the novel itself is full of abstract monologues, I think Salles could have translated a more linear story for the screen.

Narrative problems aside, performances on the whole were good. Sam Riley captured Sal Paradise’s quiet observant nature, while Kristen Stewart slipped easily into the role of a young nymphomaniac. Hedlund’s portrayal of Dean Moriarty, arguably the driving force of the book, was good enough, yet he didn’t quite recreate the sweaty, maniacal presence that Cassady is said to have had. Two big pleasers include the soundtrack (well worth a listen for any bebop or jazz types) and the impeccable period look of the piece.

Salles’ was brave to take on Kerouac’s prose, and he did an okay job of it. He may have pleased the now grey and arthritic beatniks from the 60’s, who were just glad of the chance to watch something other than Countdown, but the film just doesn’t burn, burn, burn like a fabulous yellow roman candle. Worth a go for any beat fans, but others may be left confused and disappointed.

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