The Bikeriders: A Tale of America Left Behind
Austin Butler and Tom Hardy are two formidable men. Add in powerful motorcycles and a woman as a side character, and at first glance, it seems dated. Even on a second look, it still feels that way. But that’s what makes it interesting.
This film wears jeans. Good, sturdy denim. Naturally, there’s leather too: The classic look with a denim vest over a worn-out studded jacket. The vest is adorned with patches and stickers: Stars and Stripes are a must, and a skull patch is always fitting. Essential are the skinny jeans that fit snugly from calf to thigh. And of course, the boots are indispensable.
You could call it a costume drama. Titled “The Bikeriders,” all the necessary information is in the name. Or on the back of the vest, where the gang’s name, “Vandals,” is prominently displayed.
Rebellion at Its Core
It’s the 1960s in the Midwest. A group of tough guys have formed a motorcycle club. The club was started by truck driver Johnny (Tom Hardy) after he watched “The Wild One” on TV. In the biker classic, a girl asks the rebellious Johnny Strabler, played by Marlon Brando, “What are you rebelling against, Johnny?” He replies, “What do you got?” Rebel against anything you want.
Truck driver Johnny sees himself in the Brando character. Rebellion for the sake of rebellion. The younger Benny (Austin Butler), soon the club’s second in command, shares this mindset. All the “Vandals” admire Benny. Nothing fazes him; he’s completely jaded, carefree, and fearless. Kathy (Jodie Comer) also falls for the handsome Benny with steel-blue eyes. This cool kid is a mix between James Dean and Lucky Luke.
Kathy used to be “respectable,” as she says herself, a good young woman. But she can’t escape the biker machos. The motorcycle club grows, and so do the rivalries. Soon they are known and notorious beyond the state. The scene develops a violence problem; it can’t end well.
That’s essentially the film: two strong men, powerful motorcycles, and a woman as a supporting character. At first glance, it seems dated. Even on a second look. But that’s what makes it exciting: Director Jeff Nichols is unimpressed by contemporary considerations. His film, inspired by Danny Lyon’s 1968 photo book of the same name, looks at a 1960s subculture without trying to make it relevant to modern sensibilities.
Nichols initially strips away all nuances. The men are complete fools. All the bikers are crazy. Besides Johnny and Benny, there’s the fidgety Zipco (Michael Shannon), Funny Sonny (Norman Reedus) who is a bit off, and Cockroach (Emory Cohen), named for eating bugs.
The All-American Boy Benny seems like a teen biker heartthrob from a catalog. Austin Butler, known from “Elvis,” proves himself as Hollywood’s top choice for the role with swagger. And Tom Hardy, who has a real-life reputation as a silent tough guy, mostly growls his way through as leader Johnny, saying little more than “nothing”: “What does that mean?” – “Nothing.” – “What are you planning?” – “Nothing.”
Amoebas on Two Wheels
By initially caricaturing the characters, Nichols lowers expectations for them. Kathy is introduced as the ditz who stumbled into the wrong bar but stands her ground. Literally, the story hinges on her: Nichols uses her as the narrator who gives photojournalist Danny Lyon (Mike Faist) a glimpse into the motorcycle club.
British actress Jodie Comer, with a broad Midwest accent and irresistible charm, narrates. Even the men, who roar around like amoebas on two wheels, grow on you.
Nichols doesn’t make them heroes, not by a long shot. He also doesn’t intellectualize anything. But as a filmmaker who has made several acclaimed indie films about the American heartland (“Shotgun Stories,” “Mud”), Nichols understands an America that feels left behind. “The Bikeriders” is a film about riding motorcycles, but more so about what it feels like to be left on the side of the road.
