Word: ridere
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Besides collaborating with Dennis Hopper on Easy Rider, Peter Fonda has directed one previous movie, a fine, elegiac western called The Hired Hand (1971). Like that earlier effort, Idaho Transfer has a grave, lovely feeling for the contours of the countryside. There is also, as in The Hired Hand, a simple, quite ravishing musical score by Bruce Langhorne, which mixes acoustic instrumentation with electronic effects. The scores of these two films alone should establish Langhorne as one of the best young pop musicians in the country. He is, hands down, one of the best film composers...
...Another necklace, this one trimmed with peacock feathers, monitors the wearer's body temperature. An ornate gold and silver bracelet carries an electronic gadget that measures pulse rate. Perhaps the farthest-fetched item is an enclosed vehicle, with "legs" in back and wheels in front. It carries one rider and is powered by a small motor. Called the Madison Park Stroller, it is supposed to be a piece of art as well as a conveyance...
From Here to Eternity. This academy award winner is cheap stuff as romantic narrative, but the acting and the characterization make it worth watching. It's a subdued 1940's version of Easy Rider (the lonely outcast line et. al.). Montgomery Cliff is superb, and one could almost learn to like Frank Sinatra from this flick. By the way, this is the role that Sinatra got due to mob pressure when his career was at its low point. Midnight on Channel...
Heading the list of Blue's unacknowledged credits is Easy Rider, with all its patchwork imitations. The script concerns a sawed-off Arizona motorcycle cop named John Wintergreen (Robert Blake) who yearns to achieve style and respect by becoming a detective like Marve Poole (Mitchell Ryan). His goonish partner Zipper (Billy Green Bush) laughs at his aspirations, but their discovery of the body of a desert old-timer who may have been associated with some drug traffic gives Winter-green the chance to prove his stuff...
This tinny reworking of the end of Easy Rider is given almost Wagnerian overtones. It is staged in Monument Valley, whose landscapes of eerie majesty have graced many a John Ford film. The camera tracks slowly back along the white divider line of the highway for minute upon minute, while a rock group intones a suitable overorchestrated threnody. Here and throughout, Conrad Hall's photography is resourceful but a little fancy. Like Guercio, he seems more concerned with embellishing a scene than getting at its essence...