The characters are all nonentities. None of them even have names. Two are described by their functions, “The Driver” (singer James Taylor) and “The Mechanic” (The Beach Boys’ Dennis Wilson), one by her gender, “The Girl” (Laurie Bird), and one by his car, “GTO” (Warren Oates). Having grown tired of the California street racing scene, The Driver and The Mechanic head east across the Southwestern Desert in a tricked-out 1955 Chevy, financing their travels by occasional challenges to local street-car racers—challenges they always win, but never celebrate. Before leaving California, the guys pick up a waifish hitchhiker, “The Girl,” for no particular reason. The characters speak very little and when they do, it’s usually about their car and the road.
As they make their way through the Southwest, they find themselves repeatedly buzzed by a 1970 Pontiac GTO. “GTO” is the opposite of the Chevy duo. The guy talks incessantly, bending the ear of every hitchhiker he picks up. What he says isn’t always the God’s honest truth, and his stories change from one telling to the next, but he’s always entertaining. To hear him tell it, the Chevy keeps buzzing him.
Though “GTO” doesn’t appear to know much about cars, a cross-country race to Washington, D.C. is suggested. The loser will surrender his pink slip and the car it represents. The two cars change leads regularly, with “The Girl” switching between cars. The guys’ attention is rarely on the race. “The Driver” and “The Mechanic” are often sidetracked by shorter road races (usually out of financial necessity). “GTO” seems more interested in picking up a variety of hitchhikers—many who represent the underbelly of society—and telling his stories.
The hitchhikers hammer home what Two-Lane Blacktop is about; the crumbling state of the American landscape and the disenfranchisement of youth. All of the characters are traveling across the country looking for something to do; a place to fit in. They have no roots, no apparent family or responsibilities. While it may be somewhat unreliable, “GTO” does make a few references to a past he’s trying to escape, though it’s really up to viewers to make their own decisions about each of the characters motivations.
James Taylor was just beginning what would become an illustrious singing/performing career when Hellman spotted his face on a billboard in L.A. and decided he would be perfect for the role of “The Driver.” Like Taylor, The Beach Boys drummer Dennis Wilson had never appeared in a film. Nonetheless, both men come across quite naturally. Taylor’s unsmiling drawl is particularly effective, adding to the characters general lack of focus on the big picture. Laurie Bird (who would later be featured in Monte Hellman’s Cockfighter), does a fine job with her rather vacuous role. The always reliable Warren Oates is perfect as the well-meaning, but ultimately pathetic “GTO,” who seems to recognize that the way they’re all living is meaningless but his own braggadocio won’t allow him to change.
Reproduced in its 2.35:1 aspect ratio, Criterion’s 1080p is a joy. The film is clean as a whistle, with no specks, hair, dust, etc. to be found. The colors are quite good, though it should be said that Two–Lane Blacktop is naturally a bit dark because of the outside, authentic “on the road “shoot. Flesh tones are nicely rendered and sharpness is spot on, with the exception of a few nighttime scenes that are a bit heavy. Grain varies from light to moderate. Blacks are generally inky.
The Criterion Blu-ray release offers two English soundtracks: a PCM 1.0 track and a DTS-HD Master Audio 5.1 surround track. I listened to the film utilizing both tracks in various scenes. The 5.1 option doesn’t offer a tremendous amount of surround spread. This is particularly noticeable during the race scenes, where I would have liked to hear just a bit more oomph. The dialogue is planted in the center channel in the 5.1 mix. All in all, for those who aren’t against it, the mono track sounds more authentic; likely very similar to the theatrical experience.
English SDH subtitles are included.
The following special features are available:
- Audio Commentary with Director Monte Hellman and filmmaker Allison Anders: The two discuss the film’s production history, the actors, particular scenes and more. Recorded for Criterion in 2007.
- Audio Commentary with screenwriter Rudy Wurlitzer and Author David N. Meyer: As one might expect, the two authors discuss the story and its evolution. Wurlitzer touches on changes that were made to the script during filming and how events of the time influenced it. Recorded for Criterion in 2007.
- On the Road Again (1080i, 43:00) Accompanied by some of his students, director Monte Hellman takes to the road to revisit some of the shooting locations for Two-Lane Blacktop. Hellman shares how the project came to be, how the film was funded and promoted as he analyzes the locations. Recorded in 2007.
- Make It Three Yards (1080i, 38:33) Recorded in Massachusetts, James Taylor and Monte Hellman get together for the first time since filming ended. The two discuss the production process and filming, even admitting why their relationship was sometimes strained. James Taylor also explains why he has never seen the film. Filmed in 2007.
- Somewhere Near Salinas: A Conversation with Kris Kristofferson (1080i, 27:30) Hellman talks with the songwriter about the use of his song, “Me and Bobby McGee” in the movie, as well as his role in Sam Peckinpah’s Pat Garett and Billy the Kid, which was also written by Rudy Wurlitzer. Filmed in 2007.
- Sure Did Talk to You (1080i, 23:00) Producer Michael Laughlin, production manager Walter Goblenz, Jared Hellman, Steven Gaydos of Variety magazine, and filmmaker Dennis Bartok discuss the production history of Two-Lane Blacktop. Filmed in Los Angeles during the summer of 2007.
- Those Satisfactions Are Permanent (10:80i, 25:25)Discovered in Monte Hellman’s garage in the summer of 2007, the screen test outtakes and cast interviews are neat to see. The casting interviews are conducted by A.J. Solari, who plays the edgy Tennessee hitchhiker in the film.
- Color Me Gone (1080p) A nice gallery of behind the scenes photos and publicity stills from the film. They are in both color and black & white.
- Performance and Image (1080p) A collection of photos with one of the three ’55 Chevys used in Two-Lane Blacktoop. The car was located by car enthusiast Walt Bailey, who also restored it with the assistance of Richard Ruth. There is also an impressive description of the restoration process.
- Theatrical Trailer
- Booklet: The illustrated, 38-page booklet contains and essay by writer Kent Jones; appreciations by director Richard Linklater (Dazed and Confused) and musician Tom Waits; and a reprint of the 1970 Rolling Stone article “On Route 66, Filming Two-Lane Blacktop” by Michael Goodwin.
