Review: Clad in leather, ‘The Bikeriders’ evokes ’60s cool, then watches it fade in the mirror

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As a lifelong admirer of motorcycle culture and its allure, I was immediately drawn to “The Bikeriders” when I heard about its inspiration from photojournalist Danny Lyon’s iconic book of the same name. The film, directed by Jeff Nichols, masterfully captures the raw essence of this subculture in mid-1960s America.

Back in the 1960s, I found myself drawn to the Outlaws Motorcycle Club based in Chicago’s suburbs. As an avid fan and photojournalist, I was determined to capture their world through my lens. I spent countless hours with them, snapping portraits and candid shots while engaging in meaningful conversations. The outcome of this immersive experience was a groundbreaking photo book titled “The Bikeriders,” which hit the shelves in 1968. This captivating documentation of motorcycle culture served as the muse for Jeff Nichols’ latest film, “The Bikeriders.” A thought-provoking exploration into the essence of American cool, this cinematic masterpiece pays homage to a legacy that continues to inspire and intrigue.

Nichols is deeply captivated by the unique flair and alluring tales that Lyon’s photographs evoke. He fills his Chicago-set motorcycle club film, renamed the Vandals, with a group of ruggedly attractive leading men who can make stubble and engine grease appealing. Notable names among these men are Tom Hardy, Austin Butler, Norman Reedus, Beau Knapp, Boyd Holbrook, Emory Cohen, and Damon Herriman. The casting includes some surprising yet refreshing additions such as Karl Glusman and young Australian actor Toby Wallace, who impressively portrays a young Vandals hopeful.

In a captivating opening scene, Butler’s charismatic character Benny is introduced with a glass of bourbon and a violent brawl. A shocking blow to the head leaves him reeling, setting the tone for the rest of the film. With this brilliant display of storytelling, Nichols masterfully combines style, rhythm, and suspense, pulling us deep into the intriguing world portrayed on screen.

The next time we encounter Benny, he’s towering over a pool table in a bar, his long golden arms and disheveled blond hair drawing the covetous look of Kathy (Jodie Comer), who drops by for a drink and walks away with a new partner for life. The camera of Nichols captures Butler intensely, every worn denim and leather piece, every deep pout and blood-stained grin, silently alluring Kathy to the dark side. It’s no surprise that Kathy’s boyfriend departs as soon as Benny appears on their street corner, and it’s no surprise that Kathy rearranges her life around her new brooding companion and his band of grease-splattered misfits.

Kathy serves as our guide with her swift-talking Midwestern dialect, bringing an extra rhythm to the roaring engines and mournful tunes of the ’60s rock ‘n’ roll background music. In a rapid succession, Chicago native Comer skillfully delivers Kathy’s tales about the boys into the recording device held by photographer Lyon (Mike Faist). She is both the astute observer and preserver of their history, even as her accounts may be subject to distortion or enhancement from our storyteller. Through Kathy’s perspective, we witness their lives: raw, gritty, violent, and frequently heartbreaking.

Through carefully recreated scenes based on Lyon’s photographs, Nichols and cinematographer Adam Stone bring these characters to life in a montage. We watch as Lyon takes portraits of individuals such as Cockroach (Cohen), Wahoo (Knapp), and Corky (Glusman). We also witness candid moments of the gang as they ride by on a bike. In one shot, Benny is casually pedaling over a bridge with one hand extended behind him, while in Nichols’ version, Benny faces the camera, engaging directly with the audience.

Jodie Comer and Austin Butler in the movie “The Bikeriders.”
(Kyle Kaplan / Focus Features)

Observing “The Bikeriders” is akin to browsing a captivating photo album with intriguing images and brief narratives. The script penned by Nichols exudes a rough, momentary vibe. This film transports us through its portrayal of unique characters, settings, and eras. Its rhythm shifts between solemn and spirited, mirroring our unconventional duo – taciturn Benny and loquacious Kathy.

As a movie critic, I’ve observed that Kathy is quite talkative when it comes to describing Benny, yet his distinctive traits seldom surface on screen. Benny seems underdeveloped, and although Butler delivers an impressive performance, Kathy hogs the limelight in the script. Consequently, Benny becomes a symbol of the Vandals’ allure, a visual representation of their danger. Their initial attraction is noticeable, but what keeps them bonded through the years of turmoil and debauchery remains unclear. The enigmatic Benny shares more chemistry with Johnny, the charismatic founder and leader of the Vandals, and surprisingly, Kathy as well.

Hardy stands out as both extraordinarily brilliant and oddly peculiar among the Vandals, acting as the focal point not only for the group but also for the entire film. Johnny’s leadership is guided by his unique instincts rooted in impulse and personal beliefs. However, enforcing these principles becomes increasingly challenging as the club expands, with veterans returning from Vietnam in search of companionship, introducing darker tendencies.

“The Bikeriders” is an engaging gathering place until the festivities conclude, at which point it’s time to saddle up and ride off. Although the storyline’s main conflict doesn’t entirely make sense, there are ample emotional moments. The narrative’s rhythm mirrors the unpredictability of life and the distinctively human quality of storytelling as Kathy shares anecdotes about these rebellious individuals, whose lives are now marked by the fading echoes of roaring engines.”

Katie Walsh is a Tribune News Service film critic.

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2024-07-18 18:50