Synopsis
The best teacher is experience.
Dean and Sal are the portrait of the Beat Generation. Their search for "It" results in a fast paced, energetic roller coaster ride with highs and lows throughout the U.S.
2012 Directed by Walter Salles
Dean and Sal are the portrait of the Beat Generation. Their search for "It" results in a fast paced, energetic roller coaster ride with highs and lows throughout the U.S.
Garrett Hedlund Sam Riley Kristen Stewart Amy Adams Tom Sturridge Kirsten Dunst Viggo Mortensen Danny Morgan Alice Braga Elisabeth Moss Terrence Howard Sarah Allen Kim Bubbs Eric Davis Giselle Itié Steve Buscemi Giovanna Zacarías Coati Mundi John Burnside Omoze Idehenre Kaniehtiio Horn Joe Chrest Rocky Marquette Jenessa Grant Kyle Gatehouse Daniel Kash
SPAD Films American Zoetrope Jerry Leider Company Vanguard Films France 2 Cinéma Ciné+ VideoFilmes K & S Films Nomadic Pictures MK2 Films Film4 Productions Canal+ France Télévisions
En la carretera, 浪蕩世代, Matkalla, 온 더 로드, Sur la route, Yolda, Pela Estrada Fora, On the Road - Unterwegs, 在路上, W drodze, На дороге, Úton, בדרכים, Pe drum, Στο Δρόμο, Na Estrada, Na cestě, По пътя, Đường Đời Sa Ngã, En el camino, オン・ザ・ロード
Closeted Men Go On a Journey of Hedonistic Self-Discovery At The Expense of Female Suffering and Humiliation
Can you even make a movie out of On the Road? Francis Ford Coppola, who has a producer's credit on this version, tried for years, eventually conceding that the need for a period setting made it too expensive for a studio to roll the dice. He's right that Kerouac's book needs to be considered in the context of its time: back then, this was rebellion. Now, it's a gap year. But how can you make a period movie, with carefully-sourced classic cars, shop fronts kitted out with old-fashioned displays and extras wearing vintage clothes, out of a book whose defining characteristic is an in-the-moment, improvisational energy?
The truth is, you can't. Walter Salles's film is gorgeously shot by Éric Gautier…
Admittedly lacks the daring intellect of its source material, but Walter Salles adapts the novel in such a highly ambitious manner that it’s almost impossible not to be captivated by his sprawling vision of steamy sex, pot smoking and poetry across the dazzling American landscapes. Also, Garrett Hedlund might just be the most underrated actor of this generation.
they sure do be on the road!!! yes it’s long and all over the place and maybe i’m just easily pleased by the stunning cinematography and great cast but it seems pretty underrated if you ask me
About two thirds of the way through On the Road, Dean (dude from Tron) says, "I have a great idea." What is it? He wants Marylou (Bella from Twilight) to give him and another dude (fictional singer for Joy Division) hand jobs while they drive. There is no irony to this scene (no particular sexiness either): in the world of On the Road, a couple roadjobs are what constitute a great idea. This isn't me speaking ill of sex, which is great and one of the foundational human experiences.
Rather what I am critical of is a philosophy that centers around how many people you've fucked as some sort of marker of experience or knowledge because this has never seemed…
On the Road. 2012. Directed by Walter Salles.
After many attempts by other directors including, “Francis Ford Coppola, Joel Schumacher, and Gus Van Sant, the director that acquired a budget of $25 million to make On the Road was Walter Salles (IMDB, On The Road. 2012).” The cast was immense and included Sam Riley (Sal Paradise/Jack Kerouac), Garrett Hedlund (Dean Moriarty), Kristen Stewart (Marylou, LuAnne Henderson), Amy Adams (Jane/Joan Vollmer), Tom Sturridge (Carlo Marx/Allen Ginsberg), Kirsten Dunst (Camille/Carolyn Cassady), and Viggo Mortensen (Old Bull Lee/William S. Burroughs). This cast was utilized carefully and the script reminded me of the flow of On The Road by Kerouac himself. I disagree with the reviews that complain about drugs and nudity. This was…
“i wanna spend as much time with my boy as possible,” “hey, sal? love you as ever,” and all the longing glances. just CRAZY. two hours of queerbait that i’ll never get back.
If the film didn't feel so loving toward it's characters this could have been a great takedown of the self-satisfied, obliviously classist journey of the Beats. Alas, its repellent nature is earnest, and like its characters, it fancies itself one a revolutionary tour when really it's just a vacation for privileged whites who will never know what it is like to truly live on the edge.