The Bikeriders could benefit greatly from a moment where Tom Hardy kisses Austin Butler during a clandestine meeting at a party, their faces so close it resembles a slow dance. I'm not suggesting this for the mere spectacle of seeing Hardy plant a kiss on Butler, although it wouldn't hurt to have that image. The film is brimming with pent-up emotions that could use a release, and the potentially homoerotic fixation of a biker-gang leader on his group's most photogenic member is a clear opportunity for this to happen. The Bikeriders delves into a love triangle within the larger narrative of the rise and fall of a motorcycle club called the Vandals as the '60s transition into the disillusioned '70s — a storyline with tragic grandeur that seems to make writer-director Jeff Nichols uncomfortable. He tries to downplay the inherent drama by fragmenting the chronology and filtering it through two framing devices that act as buffers for intense feelings. This approach is ironic for a film primarily exploring men creating a hypermasculine pretext to justify their camaraderie.
Nichols demonstrates a deep understanding of tortured masculinity. His debut film, Shotgun Stories, depicts a feud between half-brothers in Little Rock following their father's death, emphasizing a powerful performance by Michael Shannon, who appears in all of Nichols's subsequent films, including The Bikeriders. The movie's setting in Chicago rather than the American South, which has been central to Nichols's work, contributes to its departure from the intense conviction seen in his earlier works.
The film immerses itself in a specific Americana aesthetic — denim, leather, cornfields, Harley-Davidsons, and dive bar scenes — without fully embracing it. While the narrative is fictional, Nichols drew inspiration from photographer Danny Lyon's documentation of the Outlaws Motorcycle Club in the late '60s. However, incorporating Lyon as an observer in the film adds little value and only creates a sense of detachment from the story. The film's focus on the male characters, while using Kathy as a mediator, somewhat undermines her role. The Bikeriders is akin to GoodFellas with Lorraine Bracco as the sole narrator, providing a limited perspective on the inner workings of the club and its members.
Benny, the central character, is portrayed as a devoted and impulsive biker, albeit somewhat naive, which complicates the dynamics between Kathy and Vandals leader Johnny. The film's emphasis on aesthetics, reminiscent of heritage workwear campaigns, reflects the inspiration drawn from Marlon Brando in The Wild One. The movie's attraction to the Vandals is somewhat restrained, possibly to avoid delving too deeply into the romanticized portrayal of the club. The theme of lost innocence could have been more impactful if the film explored the conflicting desires for belonging and nonconformity that birthed the club, rather than skimming over it.
Overall, The Bikeriders feels somewhat restrained, missing the opportunity to fully explore the complex emotions and history of its characters. This leaves the film feeling somewhat constrained — not an ideal condition for a motorcycle ride.
Now streaming on Peacock. What did you think? Leave a comment.
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