Jack Kerouac’s cult-classic hits the road with Walter
Salles behind the wheel.
It’s been over half a century in the run and now, exactly 55
years after it was first published in the US , Jack Kerouac’s ground-breaking,
if not life-changing, novel On The Road
has finally been brought to the screen in a feature length film.
It has been a much anticipated spectacle for fans of the
American writer’s most illustrious work, and a long-awaited project for whoever
dared to transcribe the 300-page ramble and place its mass of seemingly aimless
digresses neatly into a piece of conventional narrative film.
Thank you, Walter Salles.
Young and aspiring writer Sal Paradise joins wild ‘n’ wacky
Dean Moriarty as they wind up on an exhilarating ride back and forth America . In
search of personal freedom and self-exploration, the pair, and their
half-hearted entourage who idle in amidst their travels, divulge into a life of
sex, drugs, jazz and kicks. Stimulated by their incessant discovery of the
unravelling sidewalks of life, and living an existence of, as Kerouac himself
describes, “raggedy madness and riot”, Sal and Dean amble east to west and back
again to fulfil their yearning desire of new and exciting experiences. While
indubitably defining the ‘Beat’ generation, Kerouac’s novel tests the limits of
the American Dream whilst celebrating the growing phenomena of the counter
culture in the fresh approaching years of the mid-20th century.
With an exuberant Dean at the helm and an infatuated Sal
clipping his heals close behind, they race through society drinking whiskey,
smoking weed and getting girls. Working by day to fund their life by night. Salles
captures the no-worries-be-happy existence of the elated ensemble to a tee and highlights
both the charm and energy of the American poor man’s city buzz– what it was
like to really feel alive- as well as
its tragic consequences of poverty and, as demonstrated in one of Kerouac’s
characters, it’s potential to create an ultimate dissatisfaction of life.
Kerouac’s exquisite blend of fictional and autobiographical
storytelling is really a visual display of a nostalgic panorama of the open
outdoors; a love poem to nature, passion and exuberance. But unfortunately, we
spend more time indoors in hotel rooms and shacks in this adaptation. What is
tragically suppressed is the true essence of Kerouac’s experiences on the
backdrop of post-war America-
the gritty nature of a life on the road. The young men’s adolescent affection
for the many wonders of the world and their endless cravings to discover and
unravel its natural splendour is dampened down. Subsequently, the continuing
sense of their long and winding miles that forever exist ahead of them, and how
each brief stay in each city or town is only a pitstop on their forever-present
journey on the road, is largely lost. This is perhaps surprising considering
the director’s prior success in creating just that in his critically-acclaimed The Motorcycle Diaries. Sal and Dean’s
brief separation which is so poignant to understanding their relationship is
too somewhat neglected.
Nonetheless, Salles delivers a well-rounded and intriguing story
around the salient events of the characters lives in those noteworthy years,
which will no doubt be inflated for those who haven’t read the novel. Despite
probably suffering for its lack of insight into Kerouac’s deeper philosophies
and character relations, Salles should be credited for how much of the novel he
does pack into the 120 minute pic. And, allas, it is fundamentally
comprehendible to follow.
Kirsten Stewart falls back into her teenager years and
whilst her character of Marylou isn’t entirely accurately sketched, she
embraces the balance of the young woman’s maturity- whose outlook is older than
her years- with the larger-than-life free spirited girl (not to mention her boob debut!) Garrett Hedlund literally and
metaphorically beams as the vivacious, eccentric ‘cowboy’ and Sam Riley equally
shines in his performance, as does supporting roles from Viggo Mortenson,
Kirsten Dunce, Amy Adams and Tom Sturridge. Though the ensemble is an
impressive one, the ephemeral of multiple characters that we encounter doesn’t
quite allow for that depth of individual personality and history that we feel
each character deserves. The connection to them is subsequently more one of fleeting admiration and, at times, bewilderment rather than sentimental emotion.
Though the movies ending is admirably left in the stories
honest, nonchalant conclusion, a feeling that Kerouac’s life on the road
remains a story untold onscreen lingers. And perhaps that’s the way it should stay.
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