On the Road (2012)

Directed by: Walter Salles | 144 minutes | drama, adventure | Actors: Sam Riley, Garrett Hedlund, Kristen Stewart, Kirsten Dunst, Viggo Mortensen, Amy Adams, Steve Buscemi, Elisabeth Moss, Terrence Howard, Alice Braga, Tom Sturridge, Joe Chrest, Kaniehtiio Horn, Sara Allen, Kim Bubbs, Giovanna Zacarías

‘On the Road’ is a film that could have been made about fifteen years after the publication of the novel. Not only did the author of the book, Jack Kerouac, write a letter to Marlon Brando shortly after publication requesting that he buy the rights and take on the two lead roles together, Francis Ford Coppola was allowed to take the pride of himself in the 1970s. owner of the rights to the book. Not having the proper resources to make the film the way he saw fit, it was left on the shelf. Decades later, Walter Salles, known for ‘The Motorcycle Diaries’ among others, and himself a great fan of the ultimate Beat novel, started working on the project. He surrounded himself with people who felt as connected to the important American masterpiece as he did. And it paid off: ‘On the Road’ turned out to be a great film adaptation, not only a visual treat, but also an ode to Kerouac’s groundbreaking novel and the Beat generation.

For those who only read the excerpt during high school and have forgotten what the novel is about: Jack Kerouac writes in ‘On the Road’ about his alter ego Sal Paradise, who met Dean Moriarty shortly after the death of his father (in the real Neal Cassady). It’s 1947. Wanting to become a writer, just like his comrade Carlo Marx (Allen Ginsberg in real life), Sal feels he has too little life experience to put anything down on paper, so he decides to surround himself with interesting people and Dean comes when called. The two boys are almost polar opposites, but thanks to Dean, Sal is introduced to a until recently unknown world: that of drink, drugs, sex and music. Sal is immediately impressed by Dean’s wife, Marylou. It’s actually only a girl, just sixteen, but as sensual as an experienced seductress. However, her raw sexuality is not enough for Dean, and tries to find what he is looking for with Camille (the real Carolyn Cassady), among others.

The restless and recalcitrant Dean and Sal travel together across America, from New York to the West. They don’t pay for petrol, they also appropriate food. The purpose of the journey is never an end in itself, the journey itself is more important. The search for the border, whether geographical, psychological or physical, is central. The young people want to transcend the conventions of life imposed by their previous generation and therefore lose themselves in the desire for everything that can enrich them. Fellow travelers come and go – each more colorful than the next – and Dean and Sal sometimes don’t see each other for a while. But the friendship between the two continues.

Jack Kerouac wrote his cross-generational novel in three weeks. He stuck papers together so he wouldn’t waste time swapping blanks in his typewriter and lived on a diet of Benzedrine and bebop music. It is only logical that the filming of this timeless classic took so much more time and preparation. The search for the perfect interpreters of the icons of the Beat generation took a lot of time, but it paid off. Sam Riley as Sal Paradise is a very capable lead, but the actor who absolutely steals the show is the charismatic Garrett Hedlund. Just like the people around him, the viewer will inevitably fall for his Dean Moriarty. You might question the fact that Sal himself remains a bit underexposed, but those who read between the lines will still be able to understand his character and his development, thanks to Riley’s subtle acting.

Kristen Stewart also impresses as the seductive Marylou, as does – less surprisingly – Viggo Mortensen who, as the William S. Burroughs-based character, remains burned into your retinas, even if you can almost call his role a cameo due to the limited screen time. show up. Amy Adams has another starring role as his wife Jane and Kirsten Dunst is on a roll as Camille. Also not unnoticed by Steve Buscemi and Terrence Howard in roles that are just too short to be memorable.

Salles does an excellent job of capturing the energy emanating from the book in the cinematic equivalent. The atmosphere of the book is well translated. Despite the absence of a clear narrative structure in the book, Jose Rivera has succeeded in making an accessible translation to the silver screen with his excellent screenplay, so that ‘On the Road’ should appeal to a wide audience. The danger that the film lacks momentum is cleverly avoided, the pace never drops and there is not a dull moment in sight. The lack of direction will not appeal to every film buff, but even those people will have to admit that there are very beautiful gems to be found between the individual scenes, something that can also be attributed to the sublime cinematography. The play with light and shadow is often fascinating and if you don’t feel like making a road trip after seeing the overwhelming American landscapes, then ‘On the Road’ at least ensures that you see your own environment with a new look. will behold. Dare to live, in whatever way. But preferably something just outside your own safe limits.