Over the course of film history, the motorcycle, be it a souped-up chopper or humble scooter, has become much more than a symbol of rebellion, sexual prowess, and freedom. Well, maybe the two-wheeled ride is still all of that. But, as you’ll see below, great motorcycle moments have appeared in movies other than so-called biker films.
Based on the novel by S.E. Hinton, Francis Ford Coppola’s black-and-white film Rumble Fish stars a young Matt Dillon as gang leader Rusty James and an almost unrecognizable Mickey Rourke as his older, smarter, and weirder brother, The Motorcycle Boy. The motorcycle is a recurring symbol throughout the film, signifying violence, temporality, and transcendence. When, close to the tragic conclusion of the film, The Motorcycle Boy takes Rusty for an impromptu ride on a stolen bike through the dark, quiet streets of Tulsa, their mode of transportation solidifies their bond as blood brothers. Drummer Stewart Copelandof the rock band The Police composed the score.
This film may seem dated and kind of tame, but Marlon Brando’s iconic performance as biker Johnny Strabler defined the visual image of the ’50s-era rebel, influencing fellow actor James Dean and even Elvis Presley in his look for the movie Jailhouse Rock. At the start of the film Brando, riding 1950 Triumph Thunderbird 6T, leads the Black Rebels Motorcycle Club into a small town to check out their motorcycle competition. Soon, all hell breaks loose. When someone asks the leather-jacketed Strabler what he’s rebelling against, he coolly responds, “Whad’ya got?”
Like The Wild One, this too is the story of a rebel and his bike. The rebel in this case is a man-child named Pee-Wee Herman, played by comedian Paul Reubens. While on a road trip to recover his beloved stolen bicycle, Pee-Wee wanders into a biker bar — the private club for a gang called The Satan’s Helpers — and, after inadvertently knocking over all of the gangs’ motorcycles, saves his butt by dancing on the bar to the song “Tequila”. The bikers give Pee-Wee a motorcycle which he promptly crashes into a billboard.
The quintessential ’60s road movie. The film begins with Peter Fonda, dressed in stars and stripes, and Dennis Hopper, dressed in Native American fringe, hitting the road on two loud-as-hell choppers to find America. Both bikes were designed and built specifically for the film by chopper builders Cliff Vaughs and Ben Hardy, following ideas of Peter Fonda. Steppenwolf’s snarling, heavy metal anthem “Born to be Wild” is the soundtrack for this opening scene, and it will forever rock.
January 4, 1952, a young medical student named Ernesto Guevara de la Serna hopped on a beat-up motorcycle with his buddy Alberto Granada and began an eight-month road trip through South America. This humble and unreliable mode of transportation brings Guevara, played in the film by Gael García Bernal, in close contact with poverty and suffering throughout a country he had yet to discover.
Steve McQueen’s character in the World War II prisoner-of-war drama The Great Escape spends most of the film causing headaches for and attempting to escape from his captors. In the final climatic break-out, McQueen nearly rides a motorcycle to freedom. The final pat he gives to the wrecked bike while hopelessly tangled in barbed wire is one of those gestures that made McQueen a star.
“It’s only people who allow themselves to be treated as machines!” In this psychedelic French flick, Marianne Faithfull’s character leaves her newlywed husband, takes off on a Harley-Davidson dressed only in a leather jumpsuit, and goes on a reckless trip in search of love. The movie’s poster image of that suit’s half undone zipper may have inspired Erica Jong’s Fear of Flying. In 1968, with the women’s liberation movement just beginning to gather its momentum, Faithfull’s performance shows that there was definitely something in the air.
This powerful film is loosely based on The Who’s classic rock opera Quadrophenia. Phil Daniels plays Jimmy, a teenaged Mod experiencing a serious personality crisis while gangs of Mods and Rockers mindlessly beat each other senseless on the beaches of Brighton. Fancy, Italian-made scooters are all the rage among Jimmy’s Mod brethren, and in the final stages of an emotional breakdown, Jimmy rides a particularly fancy one along the cliffs of Beachy Head. The clue as to whether or not he has sailed over the cliff with the scooter appears in the very beginning of the film, when we see Jimmy at sunset, turning and walking away from the edge of the very same cliff.
Okay, so there are a few camera tricks here and there, but for most of this crazy montage, it’s just Buster Keaton riding, block after block, street after street, on the front handle bars of a policeman’s motorcycle with nobody in the driver’s seat. Keaton’s stunts prove that today’s CGI is for sissies. The final crash through the wall of the hideout probably put Keaton in the hospital. That said, it’s still incredibly funny. The soundtrack you hear in this clip is a new one created by The Clubfoot Orchestra.
“It’s not a motorcycle, baby. It’s a chopper.” There’s nothing more stressful, after you’ve just escaped the dungeon of two sadists and narrowly avoided getting killed by the local crime boss, than trying to hurry up your wife so you both don’t miss a train. It’s enough to tear a couple apart and tears are inevitable. But a gentle word with a big hug goes a long way when two people love each other. Having a tricked out chopper ready to go doesn’t hurt either. No doubt these two will make that train. But what will they do with the chopper?
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