When Kerouac put the experiences of his travels to paper at the mid-point of the 20th century, he managed to capture the restlessness of a generation; establishing the roots of a movement that would go on to shape America as a whole. In essence he was urging readers to open their heart and mind to any and every experience, to be relentless in one’s drive for new and exciting worlds.
These were revolutionary ideals in an America which held strong notions of conformity and tradition and though On The Road has had a lasting impact on American culture, it is questionable whether, in this last fifty years, America has been ready to confront its radical notions of sexuality, drugs, society and life on the big screen.
Now, more than half a century after its publication, On The Road has been given its long-awaited Hollywood adaptation and, all things considered, it is a result that Walter Salles and executive-producer Francis Ford Coppola should be proud of.
English actor Sam Riley confidently takes the helm of protagonist and narrator Sal Paradise, who is in reality struggling writer Jack Kerouac. Riley boasts a convincingly rough east-coast accent and readily guides us through his adventures; most importantly though, he stands confidently astride the fascinating Dean Moriarty.
The fast-talking, fast-driving, womanizing-prophet of the ‘beat’ movement is our flawed hero; and any consideration of a film adaptation over the years has always brought with it the question who could play Dean Moriarty?
From Marlon Brando to Brad Pitt, Hollywood heavyweights have always been pegged for the role, and so there was slight trepidation with the casting of lesser-known actor Garret Hedlund. This, however, stands as Salles greatest achievement, as Hedlund brings to life the wide-eyed drive and compelling madness of this enigmatic man in full force.
In company with a strong supporting cast (Viggo Mortensen, Kirsten Dunst, Steve Buscemi, and Kristen Stewart), Salles drives us through this wild journey with loyalty to plot, authentic characters and an overall inspiring radiance of their life on the road.
This is not to say the film is without its faults. Any fan of the book would be aware of the inherent constraints that a film adaptation would face. On The Road has a strong period setting and much of the beauty of the novel comes from Kerouac’s powerful and unfettered descriptions of 1940s American landscape. In the countryside and deserts, which have remained fairly intact in the last fifty years, a single ‘47 Cadillac can easily transport us back in time to this nostalgic era. However, obvious budget constraints have kept the exploration of cities, such as San Francisco, New Orleans, Los Angeles and New York’s bustling urban landscapes, noticeably absent.
In similar respects, though Salles does not leave any key aspects of the novel out, beautiful scenes and fascinating characters are not given their just appearance due to inevitable time constraints – here’s hoping Salles has a director’s cut up his sleeve.
Past these rather unavoidable compromises however, lies a film which is faithful and respectful to its roots. Of course the film does not resonate with its audience as the novel has resonated with its readers, but an exuberant cast, breathtaking scenery and timeless message gives us an adaptation with real heart. Salles’ has managed to capture the essence of Kerouac’s On The Road and in a sense that is the greatest achievement he could have hoped for.
