Tagged: Peter Fonda
The Limey: Peter Fonda’s Layered Shirts at Big Sur
Peter Fonda as Terry Valentine in The Limey (1999)
Vitals
Peter Fonda as Terry Valentine, shady rock producer/promoter
Big Sur, California, Fall 1998
Film: The Limey
Release Date: October 8, 1999
Director: Steven Soderbergh
Costume Designer: Louise Frogley
WARNING! Spoilers ahead!
Background
Steven Soderbergh’s stylish 1999 crime film The Limey follows paroled English career criminal Wilson (Terence Stamp) on a quest for revenge after his daughter’s mysterious death, leading him to her final boyfriend—L.A. rock promoter Terry Valentine (Peter Fonda). As Wilson’s pursuit grows increasingly deadly, Terry high-tails it to his Big Sur beach house, where he holes up with his latest girlfriend Adhara (Amelia Heinle) and a handful of boyguards, including security chief Jim Avery (Barry Newman).
Soderbergh filmed The Limey on location in Big Sur, a picturesque region on California’s Central Coast. Spanish settlers originally named this unexplored coastal expanse “el sur grande” (“the big south”). As more English-speaking inhabitants arrived over the following decades, the name was simplified to the Spanglish “Big Sur”. This name was officially adopted 100 years ago today when the U.S. Postal Service approved a petition to rename the local post office from Arbolado to Big Sur on March 6, 1915. Continue reading
Easy Rider: Peter Fonda as “Captain America”
Peter Fonda as “Captain America” in Easy Rider (1969)
Vitals
Peter Fonda as Wyatt, aka “Captain America”, freedom-loving biker
Across the southern United States from Los Angeles through Louisiana, February 1968
Film: Easy Rider
Release Date: July 14, 1969
Director: Dennis Hopper
WARNING! Spoilers ahead!
Background
When I learned the second Saturday of October is commemorated as National Motorcycle Ride Day, I realized I’d gone far too long without shining a sartorial lens on Dennis Hopper’s iconic cult classic, Easy Rider.
Conceptualized by Hopper, Fonda, and screenwriter Terry Southern, Easy Rider‘s chaotic production and controversial themes have been the product of considerable discussion since its release during that seminal summer of ’69. To some, it explores the death of the American dream through the concept of freedom, asking what it really means to be a free American.
Set to classic rock like The Byrds, Jimi Hendrix, Roger McGuinn, and Steppenwolf, we follow two bikers in their journey across the United States, from the open desert of the southwest into the close-knit conservative communities of the deep South. Hopper co-stars as the the mustached hippie rider Billy, but the arguable leader of the duo is the flag-bedecked Wyatt (Peter Fonda), celebrated by his pal as “Captain America”. After all, if a red, white, and blue-blooded Captain America can’t safely and freely ride across the nation, who can? Continue reading
Dirty Mary Crazy Larry: Peter Fonda’s Double Denim and 1969 Charger
Peter Fonda and Susan George on the poster for Dirty Mary Crazy Larry (1974) as their ’69 Charger blazes away in the background. People who have actually seen the film know how misleading this poster is, and that’s all I’ll say.
Vitals
Peter Fonda as Larry Rayder, wannabe NASCAR driver and small-time robber
San Joaquin County, California, Fall 1973
Film: Dirty Mary Crazy Larry
Release Date: May 17, 1974
Director: John Hough
Wardrobe Master: Phyllis Garr
WARNING! Spoilers ahead!
Background
Unload!
Kiss off!
While few would place Dirty Mary Crazy Larry‘s script in the same echelon with Casablanca or The Godfather, there’s no doubting that it has its place among the classic European-influenced but all-American car chase flicks that kicked off with Bullitt and tapered off somewhere in the mid-’70s as more over-the-top fare like Smokey and the Bandit took over as the gearheads’ cinematic servings. It was that brief semi-decade where the sub-genre blossomed with ennui and nihilism driving the motoring protagonists of Vanishing Point, Two-Lane Blacktop, and those of its ilk.
Dirty Mary, Crazy Larry was a transition between the earlier nihilist cult films and the more marketable, humor-laced movies. Larry, Mary, and Deke aren’t necessarily driving without a defined purpose, but one could argue they were just as doomed as Kowalski when they slipped into that lime green ’69 Charger. And it is with that ’69 Charger—which BAMF Style loyalists know by now is my favorite car of all time—that I’m concluding this run of Car Week. Continue reading