By Dennis Hartley
(Originally posted on Digby’s Hullabaloo on May 22, 2021)
Sam: If I take one more step, I’ll be the farthest away from home I’ve ever been.
Frodo: Come on, Sam. Remember what Bilbo used to say: “It’s a dangerous business, Frodo, going out your door.”
— from The Lord of the Rings: The Fellowship of the Ring
With the summer travel season looming and increasing numbers of people receiving COVID vaccinations, I’m noticing more chatter about “things opening up” for aspiring vacationers:
European Union countries agreed on Wednesday to ease COVID-19 travel restrictions on non-EU visitors ahead of the summer tourist season, a move that could open the bloc’s door to all Britons and to vaccinated Americans.
Ambassadors from the 27 EU countries approved a European Commission proposal from May 3 to loosen the criteria to determine “safe” countries and to let in fully vaccinated tourists from elsewhere, EU sources said.
They are expected to set a new list this week or early next week. Based on data from the European Centre for Disease Control and Prevention, Britain and a number of other countries would meet the new criteria.
The United States would not, although Americans with proof of vaccination would be welcomed.
So we’re not quite there yet for carefree international travel. Buck up, little camper…on the domestic front, the AAA appears to be more optimistic than they were this time last year:
AAA Travel expects a significant rebound in the number of Americans planning to travel this Memorial Day holiday weekend. From May 27 through May 31, more than 37 million people are expected to travel 50 miles or more from home, an increase of 60% from last year when only 23 million traveled, the lowest on record since AAA began recording in 2000.
The expected strong increase in demand from last year’s holiday, which fell during the early phase of the pandemic, still represents 13%—or nearly 6 million—fewer travelers than in 2019. AAA urges those who choose to travel this year to exercise caution and take measures to protect themselves and others as the pandemic continues.
“As more people get the COVID-19 vaccine and consumer confidence grows, Americans are demonstrating a strong desire to travel this Memorial Day,” said Paula Twidale, senior vice president, AAA Travel. “This pent-up demand will result in a significant increase in Memorial Day travel, which is a strong indicator for summer, though we must all remember to continue taking important safety precautions.” […]
Another factor contributing to the expected increase in travel this holiday is the Centers for Disease Control and Prevention’s (CDC) recently updated guidance that fully vaccinated people can travel domestically at low risk to themselves, while taking proper precautions. It’s important to keep in mind that some local and state travel restrictions may still remain in place, however.
(via AAA website)
Speaking for myself, Mr. Frodo… if I take one more step beyond the grocery store, I’ll be the farthest away from home I’ve ever been since last March. Being cautiously optimistic by nature, I’ll be sticking with the “stay-cation” for this upcoming Memorial Day weekend.
I do still plan on hitting the road though, via the magic of cinema. If you’d care to ride along, here are 10 road movies off the beaten path, but still well worth the trip.
Badlands – With barely a dozen feature-length projects over nearly 50 years, reclusive writer-director Terrence Malick surely takes the prize as America’s Most Enigmatic Filmmaker. Still, if he had altogether vanished following this astonishing 1973 debut, his place in cinema history would still be assured. Nothing about Badlands betrays its modest budget, or suggests that there is anyone less than a fully-formed artist at the helm.
Set on the South Dakota prairies, the tale centers on a ne’er do well (Martin Sheen, in full-Denim James Dean mode) who smooth talks naive high school-aged Holly (Sissy Spacek) into his orbit. Her widowed father (Warren Oates) does not approve of the relationship; after a heated argument the sociopathic Kit shoots him and goes on the lam with the oddly dispassionate Holly (the story is based on real-life spree killers Charlie Starkweather and Caril Ann Fugate).
With this film, Malick took the “true crime” genre into a whole new realm of poetic allegory. Disturbing subject matter, to be sure, but beautifully acted, magnificently shot (Tak Fujimoto’s “magic hour” cinematography almost counts as a third leading character of the narrative) and one of the best American films of the 1970s.
Detour – Many consider Edgar G. Ulmer’s artfully pulpy 1945 programmer as one of the greatest no-budget “B” crime dramas ever made. Clocking in at just under 70 minutes, the story follows a down-on-his-luck musician (Tom Neal) with whom fate, and circumstance have saddled with (first) a dead body, and then (worst) a hitchhiker from Hell (Ann Savage, in a wondrously demented performance). In short, he is not having a good night. Truly one of the darkest noirs of them all.
The Hit – Directed by Stephen Frears and written by Peter Prince, this 1984 sleeper marked a comeback for Terence Stamp, who stars as Willie Parker, a London hood who has “grassed” on his mob cohorts in exchange for immunity. As he is led out of the courtroom following his damning testimony, he is treated to a gruff and ominous a cappella rendition of “We’ll Meet Again”.
Willie relocates to Spain, where the other shoe drops “one sunny day”. Willie is abducted and delivered to a veteran hit man (John Hurt) and his apprentice (Tim Roth). Willie accepts his situation with a Zen-like calm.
As they motor through the scenic Spanish countryside toward France (where Willie’s ex-employer awaits him for what is certain to be a less-than-sunny “reunion”) mind games ensue, spinning the narrative into unexpected avenues-especially once a second hostage (Laura del Sol) enters the equation.
Stamp is excellent, but Hurt’s performance is sheer perfection; I love the way he portrays his character’s icy detachment slowly unraveling into blackly comic exasperation. Great score by flamenco guitarist Paco de Lucia, and Eric Clapton performs the opening theme.
The Hitch-hiker – This 1953 film noir (directed by Ida Lupino) is not only a tough, taut nail-biter, but one of the first “killer on the road” thrillers (a precursor to The Hitcher, Freeway, Kalifornia, etc.). Lupino co-wrote the tight script with Collier Young. They adapted from a story by Daniel Mainwearing that was based on a real-life highway killer’s spree.
Edmond O’Brien and Frank Lovejoy play buddies taking a road trip to Mexico for some fishing. When they pick up a stranded motorist (veteran noir heavy William Talman), their trip turns into a nightmare. Essentially a chamber piece, with excellent performances from the three leads (Talman is genuinely creepy and menacing).
Race with the Devil – In this 1975 thriller, Peter Fonda and Warren Oates star as buds who hit the road in an RV with wives (Lara Parker, Loretta Swit) and dirt bikes in tow. The first night’s bivouac doesn’t go so well; the two men witness what appears to be a human sacrifice by a devil worship cult, and it’s downhill from there (literally a “vacation from hell”). A genuinely creepy chiller that keeps you guessing until the end, with taut direction from Jack Starrett.
Salesman – Anyone can aim a camera, ”capture” a moment, and move on…but there is an art to capturing the truth of that moment; not only knowing when to take the shot, but knowing precisely how long to hold it lest you begin to impose enough to undermine the objectivity.
For my money, there are very few documentary filmmakers of the “direct cinema” school who approach the artistry of David Maysles, Albert Maysles and Charlotte Zwerin. Collectively (if not collaboratively in every case) the trio’s resume includes Monterey Pop, Gimme Shelter, The Grey Gardens, When We Were Kings, and Thelonius Monk: Straight, No Chaser.
In their 1969 documentary Salesman, Zwerin and the brothers Maysles tag along with four door-to-door Bible salesmen as they slog their way up and down the eastern seaboard, from snowy Boston to sunny Florida. It is much more involving than you might surmise from a synopsis. One of the most trenchant, moving portraits of shattered dreams and quiet desperation ever put on film; a Willy Loman tale infused with real-life characters who bring more pathos to the screen than any actor could.
Stranger Than Paradise – With this 1984 indie, Jim Jarmusch established his formula: long static takes with deadpan observances on the inherent silliness of human beings. John Lurie stars as Willie, a brooding NYC slacker who spends most of his time hanging and bickering with his buddy Eddie (Richard Edson).
Enter Eva (Eszter Balint), Willie’s teenage cousin from Hungary, who appears at his door. Eddie is intrigued, but misanthropic Willie has no desire for a new roommate, so Eva decides to move in with Aunt Lotte (Cecillia Stark), who lives in Cleveland. Sometime later, Eddie convinces Willie that a road trip to Ohio might help break the monotony. Willie grumpily agrees, and they’re off to visit Aunt Lotte and Eva. Much low-key hilarity ensues.
Future director Tom DiCillo did the black and white photography, unveiling a strange beauty in the stark, wintry, industrial flatness of Cleveland and environs.
True Stories – Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part road movie, part social satire, part long-form music video, part mockumentary. Episodic; basically a series of quirky vignettes about the generally likable inhabitants of sleepy Virgil, Texas. Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray.
Once you acclimate to “tour-guide” Byrne’s bemused anthropological detachment, I think you’ll be hooked. Byrne directed and co-wrote with actor Stephen Tobolowsky and actress/playwright Beth Henley (Crimes of the Heart, Miss Firecracker). The outstanding cinematography is by Edward Lachman. Byrne’s fellow Talking Heads have cameos performing “Wild Wild Life”, and several other songs by the band are in the soundtrack.
Until the End of the World – Set in 1999, with the backdrop of an imminent event that may (or may not) trigger a global nuclear catastrophe, Wim Wenders’ sprawling “near-future” techno-epic centers on Claire (Solveig Dommartin) a restless and free-spirited French woman who leaves her writer boyfriend (Sam Neill) to chase down a mysterious American man (William Hurt) who has stolen her money (and her heart). Neill’s character narrates Claire’s globe-trotting quest for love and meaning, which winds through 20 cities, 9 countries, and 4 continents (all shot on location, amazingly enough).
Critical and audience reaction to the 1991 158-minute theatrical version (not Wenders’ choice) was perhaps best summed up by “huh?!”, and the film has consequently garnered a rep as an interesting failure . However, to see it as originally intended is to discover the near-masterpiece that was lurking all along-which is why I highly recommend the recently restored 267-minute director’s cut. Not an easy film to pigeonhole; you could file it under sci-fi, adventure, drama, road, or maybe…end-of-the-world movie.
Wanda – This 1970 character study/road movie/crime drama is an under-seen indie gem written and directed by its star Barbara Loden. Wanda (Loden) is an unemployed working-class housewife. It’s clear that her life is the pits…and not just figuratively. She’s recently left her husband and two infants and has been crashing at her sister’s house, which is within spitting distance of a yawning mining pit, nestled in the heart of Pennsylvania’s coal country.
When the judge scolds her for being late to a child custody hearing, the oddly detached Wanda shrugs it off, telling His Honor that if her husband wants a divorce, that’s OK by her; adding their kids are probably “better off” being taken care of by their father. Shortly afterward, Wanda splits her sister’s house and hits the road (hair still in curlers), carrying no more than her purse. Her long, strange road trip is only beginning.
Wanda is Terrance Malick’s Badlands meets Barbara Kopple’s Harlan County, USA; like Malick’s film it was inspired by a true crime story and features a strangely passive female protagonist with no discernible identity of her own, and like Koppel’s documentary it offers a gritty portrait of rural working-class America using unadorned 16 mm photography. A unique, unforgettable, and groundbreaking film. (Full review).