TELLURIDE- Despite a varied resume that includes art-house sci-i, a classic coming-of-age tale, and a haunting drama on racial injustice, we weren’t sure Jeff Nichols had it in him to make a movie such as “The Bikeriders.” After its world premiere at the 2023 Telluride Film Festival, we’ll likely never doubt him again. Nichols has crafted a highly entertaining period piece on a legendary biker club that is at times sexy, funny, and filled with fisticuffs. But when the movie is at its best, it’s often because of yet another top-tier performance by the one and only Jodie Comer.
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Inspired by Danny Lyon’s 1969 documentary photo book “Bikeriders” (the events in the movie conclude four years later in 1973), Nichols’ work centers on the key figures of the semi-fictional Vanguard biker club in the early part of that decade (comparatively, Lyon’s book chronicled the Chicago Outlaws Motorcycle Club). Most of the film’s narrative is told through the recollections of the super blunt Kathy (Comer), a biker “wife” who shares her memories and opinions with Danny (Mike Faist), a photography student who takes audio recordings of his subjects (just like Mr. Lyon did).
The early days of the Vanguard are depicted as a truly innocent time. Well, as innocent as you can get with adult men being part of an organization willing to break the law for one of their members. Johnny (Tom Hardy) was a Chicago-based electrician and family man who came up with the idea for the biker club after seeing a clip of Marlon Brando in biker gear on television. One of his top recruits is Benny (Autin Butler), a cooler-than-cool rider who makes a move on Ruthy after she feels overwhelmed visiting a friend at the club’s bar of choice.
After Benny entices her to join him for a ride, her first ever on a motorcycle, she immediately gets the magic of hitting the road (granted, no one was wearing helmets back then). Benny drops her off at her place after driving all night and, much to the dismay of her current boyfriend, calmly waits for her across the street from her for an entire day, barely saying a word. The boyfriend becomes so shaken by his presence that he grabs his stuff and leaves her in an insecure rage. Kathy then deadpans, “We were married five months later.”
As “Bikeriders” progresses, the elephant in the room (or perhaps on the road) is the increasing popularity of the club, a development Johnny is increasingly uncomfortable managing. At one point, he practically begs Benny to take over the reins, only to be shot down. With new chapters opening across the Midwest, the club goes from what was once a bunch of working-class guys looking for a male bonding exercise to bikers with more questionable pasts. By the end of the decade, a large number of Vietnam War veterans secure membership in the larger organization, and a culture clash between the old-school drinkers and the new-wave pot smokers causes even more tension. This is quickly becoming more of a gang than a club.
During this span of time, Johnny also has a run-in with a youngster known as The Kid (Toby Wallace). Just 20 years old, he and his friends have built their own bikes, hoping to join a club they have idolized since they were teenagers. When The Kid puts himself before his friends, he fails one of Johnny’s key tests. It’s a moment that will come back to haunt both men years down the road.
With just a wig and an accent, Comer is nearly unrecognizable as Kathy (at first, anyway). The accent is part Chicago, part Milwaukee, with a Midwest twang of Minnesota for good measure. It’s so consistent you know she must have studied it for months. With Kathy giving an outsider and insider’s perspective to the club’s rise; she’s the heart and soul of the movie.
Almost in comeback mode (outside of the “Venom” box office tallies), Hardy gives an absolutely stellar performance as Johnny. Perhaps his best work in pretty much a decade. He’s yet another Brit in the cast who has mastered a believable Midwestern accent. Really, we swear.
The movie is full of Vanguard members who are having a blast as Nichols gives everyone at least one moment to shine. Michael Shannon as Zipco (an appropriate “who gives a sh*t” attitude), Boyd Holbrook as Cal (in over his head), Norman Reedus as California escapee Funny Sonny (chewing scenery in the best way possible), and Beau Knapp and Karl Glussman as buddies Wahoo and Corky (who are in it for the long haul whether they want it or not). Emory Cohen is also quite memorable as Cockroach, a founding member who doesn’t jive with the newer recruits.
The only puzzling aspect of the movie is Nichols’ development of Benny. A naturally quiet character, he is somehow still the film’s biggest question mark. Butler inhabits him with swag and sex appeal for miles, and that is exhilarating at the beginning of the film. But as the story progresses and Johnny takes center stage, Benny falls further into the background. At one point, Kathy remarks that Benny has been gone for a year, and as a viewer, it’s met with a collective shrug. When Benny does return, there really isn’t enough on the page to make us care and sadly, we’re supposed to.
Then again, it’s not acknowledged enough how difficult it is to make a period piece that doesn’t feel staged or performative. Nichols genuinely captures the spirit of this particular era and keeps your attention even if you never gave a second thought to those packs of bike riders passing you on the highway. But please, unlike some unfortunate members of the Vanguard club, remember to wear a helmet. [B]
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