Tykes Unslain?

Reading synopses and skipping through film after film have uncovered fewer instances of bicycling culture than one might figure given ubiquity of bikes. You’d think but would be wrong that they’d appear more in Chinese or Indian movies. Costume dramas set earlier than two centuries ago shouldn’t show any. Action heroes increasingly rely on advanced technologies and jet propulsion. Pricey transportation choices don’t sell themselves, only occur as a result of conditioned delusions. Directors will never guarantee expressive quality since criteria are steeped in subjectivity. Face it, most scripts feature juvenile ideas, nightmarish fears, product placements, or silly plots. Filmmakers compile scenes about anything, just roll dice in hopes investment pays off. Big budget don’t necessarily produce blockbusters. Jewels are rare by definition. Movie time resembles what bicyclists mentally do while they ply every byway: Pay attention to approaching pavement, plan next ride segment, use quiet between meditating, noticing scenery, and reflecting on whatever one encounters directly or vicariously in any given moment.

Wide eyed Suzy Bannion (Jessica Harper) dances through cult horror classic Suspiria (Dario Argento, dir., 1977). If only that girl’s bike parked out front wasn’t removed, she could ride into town to escape witch coven that poses as a ballet school. As Professor Milius (Rudolf Schündler) explains, “[Witches] are malefic, negative and destructive... They can change the course of events, and people’s lives, but only to do harm... Their goal is to accumulate great personal wealth, but that can only be achieved by injury to others. They can cause suffering, sickness, and even the death of those who, for whatever reason, have offended them.“ Sounds like what poses as government these days. Greedy and needy, you waste treasures at your own jeopardy. Oddly, in recent remake Suzy walks past a group of liberating bicycles with no thought to ride away and save herself. Jump on and just go, girl!

Television series Pacific Blue (1996 - 2000) was yet another law and order drama. It covered daily dealings of Santa Monica’s elite bicycle squad. Season 1, Episode 3 stunt riders tackled nazi aggressors, nudist protestors, and wall desecrators. Likely it was canceled because it there’s only so much mileage you can get from a bikini clad bimbo and Muscle Beach bravado, although popular competing show Baywatch flexed and jiggled for 12 seasons. Monkees drummer Micky Dolenz who played city’s mayor was the only well known cast member.

A gang of tykes on bikes get embroiled in A Christmas Tale (Paco Plaza, dir., 2005), more like a low budget Spanish Goonies adventure. Hanging at and zooming around an amusement park that’s closed and for sale, they find a woman in a Santa suit, who fell down a well. For foolish reasons they decide to feed her but refuse to help her escape, later suspect she stole $2 million pesetas (less than $14,000 before Euros took over) according to news broadcasts. Once out, she tries to kill them all, only they pull Home Alone tactics, which result in her being decisively impaled but still a deadly threat.

Delusional author Mike O'Connell, when informed by his doctor he'll die of a grave, vague disease before end of next day, immediately implements The Living Wake (Sol Tryon, dir., 2007), so he can enjoy every minute of living, including grief of those bereaved. Considering himself on par with literary great Samuel Johnson, he has his own Boswell in manservant Jesse Eisenberg, who records every moment. Means limited by lack of cash, they embark on a full day itinerary with Eisenberg pedaling O'Connell throughout on a cycle rickshaw.

Protektor (Marek Najbrt, dir., 2009) set in 1942 Prague has Marek Daniel as a respected reporter who collaborates with Nazi invaders in order to defend Jewish movie star wife Jana Plodkova. Antisemitic enemies get the movie his wife bikes and stars in banned. Secretly he’s with antifascist resistance; when he attempts to assassinate Reich’s Deputy Protektor, photo evidence of a bicycle emerges to implicate him. Though couple go to lengths to hide it, bike proves to be their undoing.

Hesher (Spencer Susser, dir., 2011) opens with school kid TJ (Devin Brochu) on a BMX with a duct-taped seat chasing a tow truck and t-boning a car. Accident prone, his arm is already in a cast. Nicole (Academy Best Actress Natalie Portman) protects TJ when bully Dustin, who thinks TJ tagged his sports car, chases, doors, and smacks TJ down. Foul mouthed, mentally unstable, metal head squatter Hesher (Joseph Gordon-Levitt), who really vandalized car to punish TJ, witnesses further bullying, won’t interfere on boy’s behalf, but would later incinerate Dustin’s car and let TJ take blame. Police are unable to make charges against the boy stick without evidence. Hesher brings Nicole and TJ to a vacant home for sale, goes on a destructive rampage, hurls patio furniture and rides another bike into pool, then sets diving board on fire. Adults repeatedly disappoint this traumatized kid, who has lost in rapid succession his mother, grandmother, and innocence.

Daydream Nation (Mike Goldbach, dir., 2011) describes hopes youth have during systemic decline. Some just find cheap ways to dull ire and get high. Residents of a small town worry over smog from a continual industrial fire, so wear masks whenever they ride bikes, and a serial murderer killing cheerleaders, so pair up whenever outside. Wiseacre teen Kat Dennings (Two Broke Girls) safely bikes solo, but occasionally drives a Volvo, whereupon she collides with killer, so does town a favor pro bono.

She sums up society’s turmoil, “People will tell you that nothing matters, the whole world is about to end soon, but... Things don’t need to last forever to be perfect.” This pandemic too will pass, later if not sooner. And, as the late Gill Scott Heron warned, “The revolution will not be televised... reruns... will be live,” gestures supplanted by active changes.

World class geneticist William Blakely (Conal Byrne) takes home his research and sets into motion The Reconstruction of William Zero (Dan Bush, dir., 2014). He’s haunted by a fatal accident when motoring home and mowing down his own 6 year old son just after he taught him to ride a bike and told him to pedal on street outside. He consequently separates from bereaved wife Amy Seimetz, then, in order to disappear and escape grief, creates a clone of himself into whom he dumps all his memories. William Two hatches an evil plot to further clone himself and kill anyone who opposes plans, including nosy neighbor Scott Poythress, shown. William Three, aware he won’t live long, kills William Two, reconciles with unsuspecting wife, then transfers renewed relationship to William Zero. Although complete and complex fiction where nobody really died, every day motorists slay tykes, tyros and vets. By now, practically everyone has been inured against feeling complicit.

The Strongest Man (Kenny Riches, dir., 2015), Cuban immigrant Beef (Robert Lorie) and his Korean buddy Conan (Paul Chamberlain, l to r) are construction laborers in Miami. Beef doesn’t drive, loves his gold plated BMX bicycle upon which he can do impressive tricks, but it gets stolen. Conan feels responsible so helps him look for it downtown, which turns dicey after dark. Meanwhile, an existential Beauty and the Beef affair evolves with neighbor’s niece. Plagued with insecurities, Beef wisely testifies, “Sometimes I get anxious... Then I worry about feeling sick. I start worrying about germs, and doorknobs and hands... and humans, and filth, and public restrooms... about getting old... and going to die soon. There’s nothing you can do. Then you die,” prophetically given current events. Labann figures that biking 10 miles a day, or covering full or half century rides weekly, and still being able to lift bike onto its storage hooks provides evidence of one’s vitality and validates clean living and superficial scars through decade seven.

To the Moon (Emma Thatcher, dir., 2015) sent eighteen bicycling activists from San Francisco, CA to Amherst, MA through 15 northerly states, and took its title from an H.D. Thoreau quote about fresh-faced optimism. CoCycle hoped to raise awareness for United Nations’ 2011 International Year of the Cooperative, a socially just, sustainable business model. Such cross continental treks have held appeal for restless youth ever since Kerouac’s On The Road, and nation’s highways that facilitate roadie riding with sag support. Nice not having to pitch own tent and ride with panniers. Nicer sponging snacks off coops they visited along the way. All could hardly believe completing fourscore successive metric centuries to finish in less than 3 months.

2020: Fallen Earth (Joshua Land, dir., 2019) predicts a post Peak Oil shortage that decimates humanity. Ten years later, teenage lead Mitch Holson, who bikes across opening titles, hikes across a barren landscape in search of his estranged uncle’s farm to escape brutality of scavenger mentality. As a species, mankind doesn’t need a zombie uprising to witness apocalypse; desperation to preserve comforts and distribution inefficiency through loss of easy fossil fuels would drive anyone to savagery. Motorists are already impatient savages squabbling over lane space and right-of-way rules in place.