safely) or world events. Just as cars themselves are constantly being updated and marketed so road movies reshape, remodel and trick themselves out according to shifting tastes around a defining core and fixed idea.
Shortly before I came of filmic age the road movie had entered its countercultural existential phase. In, Barry Newman has to deliver a car from Denver, Colorado, to San Francisco in record time. To do this he needs – what else? – speed in order to whiz along in the alternative and lucrative slipstream generated by the runaway success of.
Well, I say that but there is a tacit assumption that the road movie is a quintessentially American form.
In this respect we were helped by a peculiarity of usage whereby although American cars have windshields we were looking, Englishly, through a wind. The only thing needed to properly square the circle would have been to stop off at a drive-in movie where they were showing something such aswith its noncey itinerary as sketched by Nabokov: “Independence, Missouri, the starting point of the Old Oregon Trail; and Abilene, Kansas, the home of the Wild Bill Something Rodeo. Distant mountains.
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