Dir: Jeff Nichols
Cast: Jodie Comer, Austin Butler, Tom Hardy, Michael Shannon, Mike Faist, Norman Reedus
Jeff Nichol’s gritty real life motorcycle drama suffers from poor pacing but remains relatively impactful thanks to the performances of its charismatic ensemble
In what appears to be a bygone era of cinema, the 1960’s and 70’s was laden with what can only be described as “bikesploitation” flicks. It came at a time when the cinematic landscape entered the New Hollywood era, spearheaded by several projects but none more notable than Dennis Hopper‘s motorcycle road drama, “Easy Rider”. This was not just a period in Hollywood but the United States as a whole where freedom and peace was being explored, the summer of love movement being echoed by up and coming filmmakers taking creative control back from the more corporate studios.
Now half a century later, with the exception of a small number of auteurs and independent production companies, Hollywood has gone back to its old ways of studio interference with the solitary goal of financial gain. Despite it being decades before my time, I can see the appeal of the “bikesploitation” genre, as it depicted a freewheeling, care free lifestyle not under control from a largely pro-Vietnam war state.
From the opening scenes of Jeff Nichol‘s “The Bikeriders”, we get that sense of freedom and brotherhood as we see Austin Butler‘s Benny ride through the Illinois landscape, accompanied by his fellow Vandal MC members in a formation that almost mirrors that of the road warriors in George Miller’s recent “Furiosa: A Mad Max Saga”.
Nichols began work on “The Bikeriders” way back in 2003 when he first came across Danny Lyon‘s photo book of the same name. The film’s central MC club, “The Vandals”, are inspired by the book’s detailing of the Illinois-based Outlaws Motorcycle Club, with whom Lyon rode with and documented between 1963 and 1967. In the film, Lyon is portrayed by “Challengers” star Mike Faist, with the majority of the story framed by a series of interviews between Lyon and numerous members within the gang community between 1965 and 1974. The majority of the MC gang’s decade long history is conveyed to Lyon by Kathy Bauer (Jodie Comer), who he first catches up with in 1965, as she recalls being introduced to “The Vandals” and first setting her eyes on James Dean wannabe Benny (Austin Butler), becoming immediately besotted, and who wouldn’t.
Benny and Kathy soon become an item, despite her outsider status and regular criticisms of the rules and politics within the gang, but she is regularly reassured by the gang’s tough but level-headed leader Johnny (Tom Hardy). Over the years we start to see the inner workings of the gang as it begins to grow across the country, with chapters popping up beyond the Illinois state borders, resulting in Johnny’s sense of leadership and power being put into question. After a handful of gang related accidents within the community, Kathy starts to challenge Benny as to where his heart lies after years of being a distant second in his affections behind his riding.
While the actual plot of “The Bikeriders” is pretty thin, I admire Nichol’s efforts of essentially bringing a photo book with no narrative or structure to life on the big screen and also recapturing the gritty authenticity of a Hollywood of old. I found the first half in particular very impressive, with a clear focus and central narrative focusing on Kathy and Benny’s enamoured but ultimately strained relationship. Jodie Comer’s performance as Kathy is key to movie’s success and the Liverpudlian does not disappoint. It is well known by this point that Comer has a penchant for accents and delivers a convincing minxy mid-westerner with Kathy. A conflicted character who serves as the audience’s eyes and ears into the world of MC gangs, who like the audience, questions an overly macho and old-fashioned lifestyle filled with alcohol, violence and misogyny. Despite her protestations however, Kathy understands that the “Vandals” is her husbands true love and initially is happy to play second fiddle.
It is in the films final act however where it begins to faulter, as we see focus shift from Kathy and Benny’s domestic situation to that of the gang itself as it evolves to something out of Johnny’s control. The smouldering loner-rebel that is Benny is largely absent from the latter scenes as Tom Hardy’s gang leader takes centre stage as he struggles to maintain the integrity of what is now a vastly different club due to its uncontrollable member recruitment outside of Chicago. While I do find that Hardy himself is excellent in the film, with his character inspired having watched Marlon Brando in “The Wild One”, this subplot is not where the movie emotionally resonated with me, meaning when we get our final shots of Kathy and Benny, I had lost interest in what was originally a compelling story.
Despite my reservations, Jeff Nichol’s has delivered a largely successful gritty depiction of Lyon’s work, with cinematographer Adam Stone beautifully recreating some of his real life photographs on screen but it is Jodie Comer’s central performance that acts as the movie’s lynch pin, and it is only when she is absent from the story that the narrative begins to falter.
The Bikeriders is now showing in UK Cinemas.
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Dan Loves Film 
Great reviews as always. “The Bikeriders” is definitely one of the films I look forward to watching this year at some point. I’m not interested in the culture of bikeriders in America but am eager to see the movie based on its cast. All three leading actors are exceptional and have proven they can deliver fantastic performances in the past. Austin Butler particularly stands out. Butler is a promising actor that last year alone appeared in several memorable movies. For instance, I adored his scene-stealing performance in “Dune: Part Two”. He’s proven that he has the ability to play conflicted characters with layers. I’m looking forward to watching “The Bikeriders” for him alone.
Here’s why I loved Butler’s performance in “Dune: Part Two”:
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Terrific review…I admire the attempt to create a film that is trying to tell a different story – some have called it a throwback to 70’s cinema and for that I say “bravo for the effort!”
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