Way Beyond Torn Up
The Loveless (1986)
Wednesday, September 25th
Film starts at 8pm
Lady Jay’s, 633 Grand St (bet Leonard & Manhattan), Bklyn, NY 11211
Free popcorn, Juke Box Meccanica, $2 Bingo for Prizes. PRIZES!
It is with great pleasure that I invite you to the 1st Annual Motorcycle Film Festival Pre Party!
The MFF is a project I am so proud of and what better way to kick it off than with a Cine Meccanica screening? So here you have i! Please join us, and MFF Co-Host Paul d’Orleans, The Vintagent (who by chance, also wrote this week’s film review) Wednesday the 25th for a very special screening of The Loveless! Enjoy the review, BUY YOUR TICKETS TODAY! and we’ll see you at the flicks! – Corinna The Loveless remains much as its title suggests – unloved and unknown outside a core few who consider it an amazing motorcycle film. The first-time feature for Kathryn Bigelow, who went on to earn two directing Oscars for her meditations on US/Middle East relations (The Hurt Locker and Zero DarkThirty), The Loveless bombed at theaters when released in 1981, but showcased Bigelow’s genius twenty years before the Academy realized who they were dealing with.
Ms Bigelow, who co-directed with Monty Montgomery, had clearly studied Kenneth Anger shorts during her film school days, as The Loveless is a visual homage to Anger’s uncanny eye; he understood better than anyone at time – and schooled generations of filmmakers and ad men – that the cine-camera has the power to transform any object into an Icon. While Scorpio Rising brewed up a mind-altered gay/Satanic/biker bacchanal (fueled by the first explicit use of powdered amphetamine in a biker film), Anger’s raw honesty (these were his gay biker buddies in real life) is locked and loaded in Bigelow’s hands for a shotgun blast at Happy Days (the #1 TV show at that time) and Reagan-era lobotonostalgia.
The storyline is a Southern highway collision of Easy Rider with the Wild One, upping the ante on both films with talk of jailhouse ‘joybangs’, and Faulknerian family drama. The film opens with WillemDafoe as Vance, in his first big screen role (after being fired from Heaven’s Gate!), an intimidating, greasy, and ultrasexy biker sleeping like Satan in the wilderness, right beside his Panhead.
The late NYC novelist Tina L’Hotsky as Sportster Debbie: ‘Do I look affected?’
‘I wasn’t going to be no man’s friend today’, the movie begins, and he shortly proves his point when encountering the mythic Thunderbird from American Graffiti – with, appropriately, a flat tire – complete with a round-heeled beauty waiting for a Real Man to rescue her. Vance is a real man all right, and sees through George Lucas’ cliché-laden script, taking his payment from the Thunderbird goddess in a way we don’t see coming.
– Paul d’Orleans, The Vintagent