Tips Iconic Films That Define A Generation! – With not one, not two, but three movies based on Jack Kerouac’s books being released this year (2013), it makes sense to get a sense of the world of cinematic dramatizations based on Beat works.
Since real people are given different fictitious names in each film, I’ve stuck to the original names of the people the characters are based on for clarity.
Tips Iconic Films That Define A Generation!
Pull My Daisy – 1959 – the final and only genuine Beat dramatization. A film from the third act of Jack Kerouac’s play/screenplay The Beat Generation. This 26-minute film may be the greatest single Beat Generation creation of all time, thanks in large part to the collaboration: Jack’s narration is perhaps the best voiceover he’s ever done. it is set as David Amram’s jazz world beat point; and is shot by the visionary cameraman Robert Frank in the actual Greenwich Village artist’s apartment, the typical place where the whole movement was born. It is based on a real event at Cassady’s house in Los Gatos in the summer of 1955, which can be read in detail in the chapter. 45 Carolyn Cassady’s “
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” Directed by Robert Frank & Alfred Leslie – Starring Gregory Corso as Jack; Allen Ginsberg as himself; Larry Rivers as railroad man Milo / Neal Cassady; Delphine Seyrig as Carolyn; portrait photographer Alice Neel as Bishop’s mother; dance choreographer Sally Gross as Bishop’s sister. Selected for preservation by the National Film Registry of the Library of Congress in 1996. B&W, 26 min.
* This once extremely rare film is now online, and you can experience the entire masterpiece here or here .
Here is 5 minutes of silent street and bar footage that Robert Frank probably shot in June 1959 with the same 16mm camera he had just shot.
Is a pot; no connection to the Beats except the name and negative stereotypes — dir. By: Charles Haas Above, it actually begins with a performance by Louis Armstrong! and he also appears to play again in the middle and has dialogue. It has a crazy cast including Jackie Coogan (best known as The Kid in Charlie Chaplin’s
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” TV show – and to give you an idea of the authenticity here – he also has a beatnik “dialogue coach” to his credit!) And speaking of Charlie Chaplin, it also features Little Tramp’s first son Charles Chaplin Jr. in a small part. like Lover Boy (a beatnik talking on a payphone trying to pick up a girl). And speaking of famous actor kids, it also features Robert Mitchum’s dead ringer son James, as a hip-talkin’ framed villain; and Bing Crosby’s niece Cathy Crosby singing in a white ball gown at a beatnik club; follows Vampira as a female Beat poet with a living rat on her shoulder; and most notably Mamie Van Doren (the B-movie stage name of Marilyn Monroe, whom Jack described his first wife Edie as looking like
, and no connection to acclaimed poet/author/journalist/Columbian professor Mark Van Doren or his quiz show scandal with his son Charles). And he delivers the best line of the film with a purr – “Would you rather be dead with him or alive with me?” In addition to the curious cast, for all its kitsch and negative clichés, it actually has some redeeming themes of sexism, domestic violence, and subplots and discussions of abortion in the context of rape (which was still illegal everywhere at the time) – but of course it’s just a set-up for a Catholic sermon. Black and white, 94 min.
Here’s four minutes of beatnik clubbing, including Vampira’s poetry, with a live rat on his shoulder.
The Subterraneans — 1960 — dir. by Ranald MacDougall – nonsensical script but impressive Cast – gamey starring George Peppard as Leo/Jack; Leslie Caron (two-time Oscar nominee for Best Actress for Lili and The L-Shaped Room and An American In Paris as “Mardou”; Roddy McDowell as Juri/Gregory (!); Jim Hutton as Adam/Allen; Arte Johnson Gore as Vidal (!) and musical performance: Carmen McRae, Andre Previn Trio!, plus Gerry Mulligan (actor & sax), Art Pepper & Art Farmer! a neutered, goofy take on Jack’s novel with a black girlfriend turned into a French girlfriend. (!?) Kerouac’s wildest prose/ the story/novel is run through a Leave It To Beaver Hollywood consistency filter and ends up as a cartoon version of the original. Rewatching it in 2022, I found the campy portrayal comically delightful – reminiscent of the depiction of hippies on network TV shows just a few years later. It’s simplistic and watered down and campy, but it is historically important because it is the only example of how Hollywood interpreted Jack during his lifetime (other than the Route 66 spoof). If it’s any consolation, he got $15,000 from the rights, enough to buy a nice house in Northport, the first he ever owned. Another small positive – there are some great location shots of San Francisco, shot in the fall of 1959. An interesting, little-known tidbit – the LA Times reported in December 1958 that Dean Martin was attached to play the role of Jack! Never released on any home video format. Color, 89 min. Here’s the original trailer from 1960. Here’s a scene with jazz with Gerry Mulligan, Art Farmer and the gang.
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Beat Girl (a.k.a. Wild For Kicks) – 1960 – UK entry into the low-flying beatnik arena; no real connection to the Beats except the title and basic stereotypes — dir. Edmond Greville – curious about the small parts of young Christopher Lee and Oliver Reed. Black and white, 79 min.
The Beatniks – 1960 – Another terrible beatniksploitation B-movie that perpetuates the media’s image of vicious criminals. It doesn’t actually have a bad score and the story is solid –
Gone wrong – but the dialogue and every other aspect of the filmmaking is insanely brutal. As others have pointed out, this is like Ed Wood making a beatnik movie. 🙂 IMDb Ratings is an amazing 2.5! I have never seen such a small number in my life! Black and white, 78 min.
Beany & Cecil – The Wildman of Wildsville – 1961 – Because no film festival would be complete without cartoon shorts – take a break from the serious and enjoy this satire of all things Beat – none other than the immortal Lord Buckley playing the head beatnik, Go Man Van Gogh and crazy jazz, daddyo . Color (animated), 6 min.
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Route 66 – 1960-64 – hour-long black-and-white dramatic TV series airing Friday nights on CBS – apparently “inspired” / copied from Jack’s film
— two young men (a wayward street-wise orphan and a bookish New England Ivy Leaguer who recently lost his father, hmmm) drive across the country on adventures in search of meaning in life (Hollywood is nothing if not original!) It was shot almost entirely in North America – 3 /4 of the episodes are written by series creator Sterling Silliphant (who later won the best screenplay Oscar for In The Heat Of The Night). Starring George Maharis and Martin Milner (who narrowly beat out Robert Redford for the role). Often compared to the original Twilight Zone, the smart adult scripts attracted guest stars from a mile-long list of current household names—Martin Balsam, Joan Crawford, Boris Karloff, Buster Keaton, Cloris Leachman, Peter Lorre, Lee Marvin, Walter Matthau. , Robert Redford, William Shatner, Martin Sheen, Rod Steiger, Rip Torn – just to scratch the surface. They also employed local actors so the dialects were authentic and different in each episode. Also of note was Nelson Riddle’s music, including an instrumental theme song that actually made the Top 30
Hit in the summer of 1962. Show sponsor Chevrolet doubled its product placement by the end of the first season of Corvette sales! Black and white, 50 min.
Saturday Night Live – 1977 – TV Oddity – John Belushi played Kerouac in one scene in the second season. Dan Aykroyd as a cop brings Jack to Broderick Crawford’s Highway Patrol office. The original show ran from 1955 to 1959, so writing the Beats into the sketch was both a nice ode and sensible. B&W (to the mirror
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Heart Beat – 1980 – written and directed by John Byrum; based on part of Carolyn Cassady’s autobiography Off The Road; Nick Nolte as Neal, Sissy Spacek as Carolyn, John Heard as Jack, Ray Sharkey as an Allen-like character, Ann Dusenberry as LuAnne; Also known for 4 weird/cool cameos: Jack’s daughter Jan is a smoking girl in a white dress sitting in a coffee shop/bar about 11 minutes into the movie in the scene that starts with Cassady/Nolte falling out of their chair onto the floor. John Larroquette, in his first film role, plays an obnoxious TV talk show host interviewing Jack; director David Lynch makes a brief appearance as a painter; and Steve Allen poking his head in the TV studio makeup room while Jack is in the chair.
Carolyn called this movie “Heart Break” because she
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