I caught up with Jeff Nichols’ “The Bikeriders” a bit late, and while the film has garnered positive reviews, such as Peter Debruge’s enthusiastic take in Variety, the overall reception has been mixed, leaning towards subdued. It hasn’t sparked a widespread resurgence of retro biker enthusiasm. It appears that many are unsure how to categorize it: a drama adapted from Danny Lyon’s 1968 monochrome photo collection depicting the rough lives of the Chicago motorcycle gang known as the Outlaws (renamed the Vandals in the film). Nichols presents their adventures with raw, unpolished authenticity and allure. Personally, I found the film captivating and emerged surprised by its somewhat muted acclaim. However, I believe I understand why.
What does “The Bikeriders” actually explore? At its core, it delves into a specific era and milieu — the subculture of motorcycle clubs from the late 1960s to early 1970s. This is a realm many of us might feel familiar with through Hollywood’s portrayal in biker epics. Films like Marlon Brando’s “The Wild One,” which significantly influences “The Bikeriders,” and other cult classics such as “The Wild Angels” and “Hells Angels on Wheels,” predominantly shape our perception with their gritty B-movie folklore. These movies often romanticize the rebellious aspects of biker culture, painting them as anti-establishment icons. Similarly, the “Mad Max” series dramatizes biker gangs on a grand, spectacular scale, perpetuating the myth of these groups as larger-than-life, chaotic forces.
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