Ohjaus:
James William GuercioKäsikirjoitus:
Robert BorisKuvaus:
Conrad L. HallSävellys:
James William GuercioNäyttelijät:
Robert Blake, Billy Green Bush, Mitchell Ryan, Jeannine Riley, Elisha Cook Jr., Royal Dano, Hawk Wolinski, Peter Cetera, Terry Kath, Nick Nolte (lisää)Juonikuvaukset(1)
Toiset ovat syyttäneet tätä elokuvaa fasistiseksi, toiset ovat pelästyneet sen kompromissitonta asennetta. Yksi asia on varma: Moottoripyöräcowboy ei jätä ketään kylmäksi! Terävän dialogin, fantastisen kuvauksen ja absurdiutensa ansiosta elokuvaa on kutsuttu käänteiseksi Easy Rideriksi. Moottoripyöräpoliisi Wintergreen on kollegojaan päätä lyhyempi, mutta tuplasti rehvakkaampi. Hänen unelmansa on päästä selvittelemään murhia. Sattuma puuttuu peliin ja heittää ruumiin Wintergreenin tielle. Samanaikaisesti Wintergreen törmää korruption ja valheiden maailmaan, jossa suurin vaara eivät enää olekaan vapaamieliset hipit, vaan hänen omat kollegansa... (Future film)
(lisää)Videot (2)
Arvostelut (1)
With its atmosphere, The Blue Electra Glide is open about its relation to Easy Rider, explicitly referring to that film in a scene. It acts as the other side of the same coin when it looks at the era of the flower children movement through the eyes of police officers, who have a significantly more conservative idea of the American dream and freedom, often closely resembling the attitudes of guard dogs. The failure of the utopian ideas of the hippies was already exposed in Easy Rider, but Hopper's piece maintained the illusion of crushing the dream with a brutal attack from the hostile environment. The Blue Electra Glide goes much further in this disillusionment: it shows the degeneration of ideals corroded by drug addiction, trafficking, passivity, and inability to face problems. Guercio's film evidently struck a chord with the 70s generation and received decent acclaim. Since I don't have, and won't have, the opportunity to follow his development as a filmmaker, I'm not completely certain about the extent of his talent, and I don't accept his film without reservations. With its aesthetic of violence, it closely resembles the approach of Sam Peckinpah, as evidenced, for example, by the scene of the wild chase by the motorcycle gang. At times, the film doesn't bother with logic, and if I wanted to dig deeper into it, I would find many flaws. However, the positive impressions still persist, and they are enough to give the film an overall impression of 70%.
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