The American Dreamer (1971)

          At the historical moment when this lyrical and revealing documentary was made, Dennis Hopper seemed poised for elevation to godlike status in popular culture. Still riding high on the success of his directorial debut, Easy Rider (1969), Hopper had just completed shooting a bold new feature, The Last Movie, which he not-so-humbly envisioned as a revolutionary step forward in world cinema. The American Dreamer captures Hopper during the protracted editing process of The Last Movie, although filmmakers L. M. Kit Carson and Lawrence Schiller are only peripherally interested in the actual method by which Hopper and his cutters assemble footage. Instead, the filmmakers seek to capture the soul of an artist at his creative peak.

          Therefore, much of the documentary comprises Hopper delivering improvised monologues about his aesthetic and spiritual philosophy. And while Hopper is insufferably contradictory and pretentious and self-aggrandizing, creating excuses for indulgent behavior by characterizing every action he takes as a manifestation of his rebellious creativity, the seemingly unrestricted access Carson and Schiller gained to Hopper’s life makes The American Dreamer important. The content of The American Dreamer’s best sequences is so interesting that the documentary’s excesses—not least of which is fawning hero worship—can’t diminish the project’s informational value.

          Set mostly around a home in Taos, New Mexico, where a bearded Hopper supervises editing whenever he’s not indulging in sexcapades with the myriad willing ladies who drift in and out of the place, The American Dreamer is almost equally divided between narrative scenes capturing action as it unfolds, and poetic passages juxtaposing Hopper’s voiceover with shots of the actor/director driving, walking, or, in some cases, pulling performance-art stunts like stripping off his clothes while he strolls through a suburb. (In some of the most bracing scenes, Hopper has group sex with various nubile women, although the doc stops short of depicting anything X-rated.)

          The through-line of The American Dreamer is Hopper’s stream-of-consciousness speechifying, and there’s no question he’s a compelling speaker even when his rhetoric gets ridiculous. In cogent moments, he invents hip slogans, e.g., “It’s very difficult at times if you believe in evolution not to believe in revolution.” Elsewhere, he spews drug-casualty non sequiturs, e.g., “Can you go in a corner and not think about a white bear for five minutes? Is that possible?” And this was beforeHopper reached rock bottom. Much of Hopper’s extemporizing seems consciously designed to burnish the myth of Hopper as a soldier for social change (one of Hopper’s real howlers: “Society’s made me a criminal”). Meanwhile, some of the actor/director’s chitty-chat comprises glorified pick-up lines, as when he explains to a Playboy Bunny that he’s so concerned about female orgasms he thinks of himself as a lesbian.

          At his worst, Hopper embarks on sky-high ego trips, referring to himself in the third person as “the artist” and equating his work to that of Orson Welles. (The filmmakers goose these delusions of grandeur by lacing the soundtrack with original folk songs about Hopper’s quest to reinvent cinema.) The deification gets a bit much, but nestled within The American Dreamer is a poignant portrait of a uniquely talented man testing the outer limits of his universe, thereby inadvertently arriving at the place where maverick artistry becomes megalomania.

The American Dreamer: GROOVY

The Last Movie (1971)

          One of the most notorious auteur misfires of the ’70s, this misbegotten mind-fuck was Dennis Hopper’s follow-up to Easy Rider (1969), the surprise blockbuster that not only transformed Hopper from a journeyman actor to an A-list director but also established him, for a brief time, as a leading voice of the counterculture. Alas, Hopper’s poor choices as an actor, co-writer, and director turned The Last Movie into a metaphor representing the way some people, Hopper included, fell victim to the excesses of the drug era. In trying to escape the constraints associated with conventional cinema, Hopper created a maddening hodgepodge of self-indulgent nonsense and uninteresting experimentation.

          Hopper stars as Kansas, the horse wrangler for a Hollywood film crew that’s shooting on location in Peru. After a fatal on-set accident, Kansas drops out of his Hollywood lifestyle to start over in South America, hooking up with a sexy local girl (Stella Garcia) and scheming with a fellow U.S. expat (Don Gordon) to get rich off a gold mine. Kansas also romances a beautiful upper-crust American (Julie Adams), with whom he engages in gentle sadomasochism, and he gets roped into a bizarre situation involving Peruvian villagers who are “shooting” their own movie using primitive mock-up cameras and microphones made from scrap metal and sticks. (One of The Last Movie’s myriad pretentious allusions is that the “fake” film crew is making more authentic art than the “real” film crew.)

          Simply listing the trippy flourishes in The Last Movie would take an entire website, so a few telling examples should suffice. Early in the picture, a Hollywood starlet (played by Hopper’s then-girlfriend, former Mamas and the Papas singer Michelle Phillips) conducts a ritual during which she pierces a Peruvian woman’s ear with a large pin while people stand around the scene wearing creepy masks and chanting. Later, Kansas leads a group of Americans to a whorehouse, where they watch a grimy girl-on-girl floor show; this inexplicably drives Kansas into such a rage that he ends up slapping around his long-suffering female companion. And we haven’t even gotten to the weird one-shot bits that are periodically inserted into the narrative. At one point, Kansas leans back while a woman shoots breast milk from her nipple to his face. Elsewhere, while getting his hair trimmed, Kansas shares the following random remark: “I never jerked off a horse before.” Good to know.

          The whole movie culminates with a befuddling barrage of images, including scenes of Kansas getting beaten by members of the “fake” film crew, as if the Hollywood runaway is some sort of martyr for art. It’s all very deliberately weird. During the final stretch, for instance, Hopper cuts to silly things like “scene missing” placeholders and outtakes of actors consulting their scripts. The idea, presumably, was to deconstruct Hollywood filmmaking so that a new art form could emerge from the ruins, but Hopper missed the mark in every way. That said, it’s worth noting that Hopper brought interesting friends along for the ride. Cinematographer László Kovács, who also shot Easy Rider, does what he can to infuse Hopper’s scattershot frames with artistry, and the cast includes ’70s cult-cinema stalwart Severn Darden (who does a musical number!) as well as maverick B-movie director Samuel Fuller, who plays a version of himself during the scenes depicting the making of the Hollywood movie.

The Last Movie: FREAKY

Mad Dog Morgan (1976)

          A low-budget Australian effort noteworthy for the presence of Hollywood leading man Dennis Hopper, Mad Dog Morgan offers an Ozzie spin on the cliché of the antihero outlaw. Based on the real-life exploits of John Fuller, a criminal who operated under aliases including “Daniel Morgan” in mid-19th-century Australia, the picture romanticizes certain elements of the protagonist while still depicting his violence in a vivid way. Morgan was a “bushranger,” living in the wild and subsisting on loot from robberies. He also developed a fierce reputation for the savagery of which he was capable when inebriated.

          Director/cowriter Philippe Mora elicits early sympathy for Morgan by featuring a prologue in which the character is brutalized while imprisoned. The image of Morgan getting branded is hard to shake, and the abuse he suffers behind bars goes a long way toward explaining why he subsequently shuns law and order. Whether this portrayal accurately reflects the real Morgan’s character is open to debate, but the strategy works on a narrative level: Even as Morgan becomes more and more dangerous, we recall why he resents authority and values his freedom.

          Hopper was ingenious casting, since his work in Easy Rider (1969) made him an icon for the rebel spirit of the counterculture era, and he gives one of his most disciplined ’70s performances here. It’s possible that having to maintain a pidgin Irish/Australian accent forced Hopper to concentrate on his dialogue instead of tumbling off into formless improvisation, but whatever the case, he’s ferocious and focused from start to finish.

          The movie’s plotting is rather ordinary, the usual business of a crook forming unexpected alliances and outsmarting pursuers until an inevitable showdown, so what makes Mad Dog Morgan arresting, aside from Hopper’s performance, is the movie’s rich Australian texture. Shot on location by cinematographer Mike Molloy, the film’s widescreen images present untamed regions of the land down under as a striking alternative to the familiar settings of Hollywood-made outlaw pictures. Lit naturalistically and shot on grainy film, Molloy’s frames feel like vintage photographs come to life. Furthermore, an ominous soundtrack featuring the eerie aboriginal wind instrument called the didgeridoo gives Mad Dog Morgan an otherworldly air.

          The supporting cast is fine but not spectacular, though Ozzie stalwart Jack Thompson contributes his usual commanding presence in the small role of Morgan’s main pursuer, and Aboriginal actor David Gulpill (Walkabout) is amiably enigmatic as Morgan’s outback sidekick. (Gulpill also performs the soundtrack’s didgeridoo music.) Thanks to strong execution elevating potentially humdrum material, Mad Dog Morgan offers an exotic new spin on a durable genre.

Mad Dog Morgan: GROOVY