Easy Rider is not just a significant American movie. It is also an exceptional example of independent filmmaking, one where, with the unwavering ambition of youth and a desire for something different, a film rises above and beyond the studio-beholden establishment to achieve a triumph all its own.
For me, film has always been a strong source of inspiration. As long as I can remember, I have been truly captivated by the motion picture. One of my earliest memories would have to be seeing the first Batman in theaters a quarter of a century ago. In 1989, “Batmania” was sweeping the nation and I was perfectly content playing with my Toy Biz and Kenner action figures. The character of Batman had been around 50 years before I was even born and I’m sure other children before me have been amazed by The Caped Crusader’s various adventures. Tim Burton’s epic would have to be my first experience seeing The Dark Knight in action and it was monumental one at that.
Film noir comes full circle in Roman Polanski’s Chinatown (1974). Thirty years before its release, crime dramas saw the birth of a fundamental character – the noir hero. From Dashiell Hammett to Raymond Chandler, The Maltese Falcon (1941) to The Big Sleep (1946), the noir hero inhabits a world of hopelessness and dark tragedy. The Maltese Falcon saw Humphrey Bogart’s inaugural portrayal of this amoral anti-hero and began film noir as we know it.