Joyce Johnson's new biography, The Voice Is All: The Lonely Victory of Jack Kerouac, traces the development of Kerouac's prose style, showing how his French freed him to create his famous spontaneous narrative.
One of the most significant challenges of the film is to make us feel as if we're seeing this lifestyle with a fresh eye. The film does a terrific job of putting us in the era and making us feel like we're actually there.
On the Road starts off speeding, snapping the audience's heads back against their padded seats, and kidnapping them. Taking 'em to the 1940s, America. At some point each voyeur has to decide whether they are in or out.
If, in fact, her personal life somehow hurts her standing with her young fans -- if the fans can no longer look up to her as a role model because she's a 22-year-old who got tired of one man and was tempted by another -- well, I'd say it's the best thing that could happen to her.
I am pleased that the reports from Cannes about the On the Road, Walter Salles' film are mainly favorable, although I have taken note that some say there is no inner world for the characters, that the film has no discernable plot, that it is overlong.
The movie trailer for Walter Salles' film adaptation of Jack Kerouac's seminal novel On The Road has just been released. It portends an extremely satisfying movie experience that literary fans have been anxiously awaiting for.
Reading subtitles is a lot like riding a bicycle. Practice not only makes perfect, soon enough it's second nature so you don't even notice you're doing it. This particularly holds true when you're watching something great.
Francis Ford Coppola has owned the movie rights to Jack Kerouac's seminal novel On The Road for decades. He just seemed to be the kind of guy who would either make the movie "right" or he wouldn't make it at all.