There is something about motorcycles that calls to our primeval roots. That thrum of the engine, the leathers worn soft with use, the flash of chrome, and the roar of exhaust all start this answering beat in the darkest, deepest spaces of our souls. And then there is the whole nostalgia thing going on, with the movies, the black-and-white photographs, the curling cigarette smoke, and the sullen stare all bringing to mind rebels without a pause. From Marlon Brando’s “The Wild One” to “Easy Rider,” the motorcycle has been fetishized in Hollywood. In Hindi cinema too, a motorcycle is often used for the hero’s introduction scene. Remember Amitabh Bachchan on the Yamaha in “Muqaddar ka Sikandar,” or Aamir Khan and Rani Mukherjee burning up the tires and screen in “Ghulam?”
In the midst of this glamourization of motorcycles, Jeff Nichols’ film “The Bikeriders” offers an intriguing and nuanced look at motorcycle culture. Starting with Kathy (Jodie Comer) saying Johnny (Tom Hardy) created the Vandals, a motorcycle club in Chicago, after watching Marlon Brando’s Johnny reply to Mildred’s “what are you rebelling against” with “What you got?” in “The Wild One,” the movie sets a poignant tone from the very beginning.
Based on photographer/documentarian Danny Lyon’s iconic book, “The Bikeriders” chronicles the evolution of the Vandals, a club that started off as a gang of misfits in the ‘60s and gradually turned into a criminal enterprise. The narrative unfolds through Kathy’s perspective and is presented in a series of interviews with Lyon (Mike Faist). Kathy’s journey from being an outsider to becoming a “biker babe,” and then distancing herself as the club changes, mirrors the transformation of American society during a turbulent period.
Not just a tale of the Vandals, “The Bikeriders” acts as a window into America’s journey from the idealistic flower power of the ‘60s to the disillusionment of the ‘70s. The movie depicts the impact of returning traumatized soldiers from Vietnam, the shift from marijuana to harder substances, and the escalation from fistfights and knife battles to gun violence.
Kathy’s entry into the world of the Vandals is marked by her initial sighting of the charismatic Benny (Austin Butler), whom she marries just five weeks later. This relationship later becomes a crux of conflict when Kathy, yearning for stability, asks Benny to choose between the vagabond life on the motorcycle and a steadier life with her.
. Johnny’s role in this dynamic adds a layer of complexity, hinting at an almost romantic bond with Benny.
There’s a homoerotic undercurrent in the relationship between Johnny and Benny, encapsulated in an almost-kiss, reflecting the intense camaraderie and affection shared within the group. Kathy’s recognition of both her and Johnny’s love for Benny further deepens this intricate web of relationships.
Nichols’ approach to the subject matter is gritty and raw, presenting a fascinating study of a sub-culture often romanticized but seldom understood. The director incorporates some of Lyon’s breathtakingly beautiful original photographs into the end-credits, illustrating how meticulously he has recreated certain frames, adding to the film’s visual authenticity.
The cast delivers stellar performances. Butler is radiant, embodying youthful rebellion and charisma, while Hardy takes on a more subdued yet powerful role as Johnny, the elder statesman of the group. Comer, with expressive mannerisms and depth, serves as a compelling storyteller, chronicling the rise and fall of the Vandals through her experiences.
The movie acts as both a reflection on the past and a commentary on how the image of motorcycles has morphed over time. No longer the symbol of wild freedom they once were, motorcycles today often bring to mind more mundane images, like food delivery. It’s a stark contrast to the romanticized vision of Brando or the rugged allure of Jack Nicholson, but it highlights the ever-changing nature of cultural symbols.
“The Bikeriders” invites viewers on a nostalgic ride down memory lane, offering a window into a wild, untamed era, juxtaposed with modern realities. As it hits theatres, it reminds those who walk out of the cinema reflecting on a period gone by that they could have been contenders in that bygone era. The visceral excitement of riding a motorcycle under the open sky endures, even if today it might just get you a piping hot samosa in the rain.
