Ach, wären sie doch daheim geblieben! In der Verfilmung von Jack Kerouacs Klassiker "On the Road" tingeln die Jungstars Kristen Stewart. Jack Kerouacs Roman On the Road gehört zu den wichtigsten Bücher der US-amerikanischen Literatur des Jahrhunderts und wurde zum Kult der. Avis On the Road ist unser Bonusprogramm für schweizerische Kunden, mit garantierten Preisvorteilen und weiteren attraktiven Zusatzleistungen.
On The Road Beschreibung
Der junge Schriftsteller Sal Paradise trifft kurz nach dem Tod seines Vaters auf den lebensfrohen Dean Moriarty und lässt sich von ihm zu einem monatelangen Roadtrip quer durch die USA überreden. Sie testen ihre Grenzen und sind auf der Suche nach. On the Road – Unterwegs (zu deutsch Auf der Straße) ist ein Roadmovie aus dem Jahr , das auf dem gleichnamigen Roman des Autors Jack Kerouac. Unterwegs (Originaltitel On the Road) ist ein Roman des US-amerikanischen Schriftstellers Jack Kerouac, der veröffentlicht wurde. Das Buch gilt als. Jack Kerouacs Roman On the Road gehört zu den wichtigsten Bücher der US-amerikanischen Literatur des Jahrhunderts und wurde zum Kult der. On the Road (Penguin Modern Classics) | Kerouac, Jack, Charters, Ann | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf. elnuevomiliario.eu - Kaufen Sie On the Road - Unterwegs günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu. Ach, wären sie doch daheim geblieben! In der Verfilmung von Jack Kerouacs Klassiker "On the Road" tingeln die Jungstars Kristen Stewart.
Jack Kerouacs Roman On the Road gehört zu den wichtigsten Bücher der US-amerikanischen Literatur des Jahrhunderts und wurde zum Kult der. Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»On the Road«nach Hause oder Ihre Filiale vor Ort bestellen! On the Road swings to the rhythms of s underground America, jazz, sex, generosity, chill dawns and drugs, with Sal Paradise and his hero Dean Moriarty,.
On the Road Theatrical release poster. Release date. Running time. Retrieved August 5, Toronto International Film Festival.
Archived from the original on Retrieved British Board of Film Classification. Box Office Mojo. Time Out. Rotten Tomatoes. The Age. The Independent.
The Hollywood Reporter. Archived from the original on February 10, USA Today. May 5, Archived from the original on September 15, Deadline Hollywood.
MTV News. Entertainment Weekly. Archived from the original on May 12, The New York Times. CTV News. Vancouver Sun. Calgary Herald.
Montreal Gazette. Archived from the original on August 24, San Francisco Examiner. Los Angeles Times. Retrieved 7 February Fandango Media.
Retrieved 22 August CBS Interactive. Film School Rejects. New York. Retrieved December 23, Keep track of everything you watch; tell your friends.
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Rate This. Young writer Sal Paradise has his life shaken by the arrival of free-spirited Dean Moriarty and his girl, Marylou.
As they travel across the country, they encounter a mix of people who each impact their journey indelibly. Director: Walter Salles.
Writers: Jack Kerouac based on the novel by , Jose Rivera screenplay by. Available on Amazon. Added to Watchlist.
From metacritic. November's Top Streaming Picks. Lockdown watchlist. Share this Rating Title: On the Road 6.
Kerouac's writing style has attracted the attention of critics. On the Road has been considered by Tim Hunt to be a transitional phase between the traditional narrative structure of The Town and the City and the "wild form" of his later books like Visions of Cody Matt Theado feels he endeavored to present a raw version of truth which did not lend itself to the traditional process of revision and rewriting but rather the emotionally charged practice of the spontaneity he pursued.
Music is an important part of the scene that Kerouac sets in On the Road. Early in the book Pt. The fellows at the Loop blew, but with a tired air, because bop was somewhere between its Charlie Parker Ornithology period and another period that began with Miles Davis.
And as I sat there listening to that sound of the night which bop has come to represent for all of us, I thought of all my friends from one end of the country to the other and how they were really all in the same vast backyard doing something so frantic and rushing-about.
Sal, Dean, and their friends are repeatedly depicted listening to specific records and going to clubs to hear their musical favorites.
For example, in one of two separate passages where they go to clubs to hear British jazz pianist George Shearing , the effect of the music is described as almost overwhelming for Dean Pt.
They rolled and rolled like the sea. Folks yelled for him to 'Go! That's him! Old God! Old God Shearing! Shearing rose from the piano, dripping with sweat; these were his great days before he became cool and commercial.
When he was gone Dean pointed to the empty piano seat. Kerouac mentions many other musical artists and their records throughout On the Road : Charlie Parker — "Ornithology" Pt.
Kerouac also notes several other musical artists without mentioning specific records: Miles Davis Pt. Jazz and other types of music are also featured more generally as a backdrop, with the characters often listening to music in clubs or on the radio.
Kerouac even delves into the classical music genre briefly, having Sal attend a performance of Beethoven 's sole opera, Fidelio , in Central City , Colorado, as performed by "stars of the Metropolitan" who are visiting the area for the summer Pt.
Tom Waits , too, acknowledged its influence, hymning Jack and Neal in a song and calling the Beats "father figures.
It would be hard to imagine Hunter S. On the Road influenced an entire generation of musicians, poets, and writers including Allen Ginsberg.
Because of Ginsberg's friendship with Kerouac, Ginsberg was written into the novel through the character Carlo Marx. Ginsberg recalled that he was attracted to the beat generation, and Kerouac, because the beats valued "detachment from the existing society," while at the same time calling for an immediate release from a culture in which the most "freely" accessible items—bodies and ideas—seemed restricted 1.
Ginsberg incorporated a sense of freedom of prose and style into his poetry as a result of the influence of Kerouac 1. A film adaptation of On the Road had been proposed in when Jack Kerouac wrote a one-page letter to actor Marlon Brando , suggesting that he play Dean Moriarty while Kerouac would portray Sal Paradise.
Garrett Hedlund portrayed Dean Moriarty. While many critics still consider the word "beat" in its literal sense of "tired and beaten down," others, including Kerouac himself promoted the generation more in sense of "beatific" or blissful.
More than mere weariness, it implies the feeling of having been used, of being raw. It involves a sort of nakedness of mind, and ultimately, of soul: a feeling of being reduced to the bedrock of consciousness.
In short, it means being undramatically pushed up against the wall of oneself. Kerouac's preoccupation with writers like Ernest Hemingway shaped his view of the beat generation.
Not content with the uniformity promoted by government and consumer culture, the Beats yearned for a deeper, more sensational experience.
Holmes expands his attempt to define the generation in a article in Esquire magazine. This article was able to take more of a look back at the formation of the movement as it was published after On the Road.
To be beat is to be at the bottom of your personality, looking up. From Wikipedia, the free encyclopedia.
For other uses, see On the Road disambiguation. Main article: On the Road film. Main article: Beat Generation.
The New York Times. TIME Magazine. Introduction to On the Road. New York: Penguin Classics. Atlantic Monthly.
Kerouac: A Biography. San Francisco: Straight Arrow Books. New York: Viking. Berkeley: University of California Press. Review: On The Road Again.
New York Times Book Review. January 28, Conversations with Malcolm Cowley. University Press of Mississippi.
Discovered: Kerouac "cuts " ". The Independent. Archived from the original on September 27, Retrieved Le Devoir in French.
Quebec, Canada. Jack Kerouac: An Illustrated Biography. Chicago: Chicago Review Press. Visions of Cody. Time Magazine. September 16, Slow Learner.
Penguin Publishing Group. Retrieved 16 April Hilary Holladay and Robert Holton ed. What's Your Road, Man? Understanding Jack Kerouac.
On The Road A cult novel VideoRed Army Choir: On the Road.
On The Road Navigation menu VideoOn The Road - LEIGHTON TOWN @ BELL CLOSE
On The Road NavigationsmenüEinband Taschenbuch Seitenzahl Erscheinungsdatum Auf dem Trip Naruto Shippuden Ganze Folgen Deutsch - nicht Onkel Bens durch Amerika. Völlig anders und dadurch anziehend. Eine Filmkritik von Joachim Kurz. Nur hätte ein solcher Bruch mit Konventionen bedeutet, dass man zwangsläufig aneckt. Aber aus Sicht der Filmindustrie ist ein Buch natürlich nur dann unverfilmbar, wenn rechtsverbindliche Verfügungen Forever Young (Film) vorsehen. Schade ums Geld, aber vor allem um die Zeit!!
I like his later, more introspective writing, but I know I'm in the minority here. There's a good reason why we had to wait so long for a screen version of On the Road.
Impossible as it may be to believe, some novels are not written with potential movie rights in mind.
On the Road is a sometimes rambling, stream of consciousness, string of vignettes without a clear goal in mind. It is a novel about hedonistic-death-driving on America's highways in a quest for life and a run from it.
For the members of Kerouac's Sal Paradise's group, life is controlled self-destruction because death is preferable to boredom.
These attitudes spring from the times in which the reality of potential nuclear disaster hung over the nation and the attitudes so induced found expression in youth who turned the directionlessness of life into life for the moment.
Making a film on such a book requires selection. Kerouac's hedonistic rampage across America, as selected by director Walter Salles, looks more mindless and sex-spiced than it did in the novel.
Kerouac, as we see in his later works, was a hedonist with a conscience; a deadly combination which likely led to him drinking himself to death.
Director Salles sees what he wants to see, a sex-crazed, drug-crazed, two-dimensional man. If this was truly the man represented in the novel, the novel would not have had the enduring quality that has made it literature.
I liked the way the s was captured in the film. It was as close to perfection as you could get. The importance of jazz with its improvisation mirrors the lives of the travelers.
The acting is good but the interaction is not. Maybe that was the point. There is no need for interaction in an age when the highest morality was based on selfishness.
The movie may be okay to watch once, but I would prefer not to go down this road again. Looking for some great streaming picks?
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Young writer Sal Paradise has his life shaken by the arrival of free-spirited Dean Moriarty and his girl, Marylou.
As they travel across the country, they encounter a mix of people who each impact their journey indelibly. Walter Salles' "On the Road" was made with noble intentions, finely-crafted filmmaking and handsome casting, but, alas, it does not burn, burn, burn.
Salles, the Brazilian filmmaker of "The Motorcycle Diaries" and "Central Station," would seem the perfect director to translate to the screen Jack Kerouac's poetry of the road.
But this "On the Road," the first ever big-screen adaption of the Beat classic, doesn't pulse with the electric, mad rush of Kerouac's feverish phenomenon.
Salles approached the book with reverence and deep research, and perhaps that's the problem -- that its spirit got suffocated by respectfulness.
The late '40s period detail, shot by cinematographer Eric Gautier, is lush, and there is surely a very attractive montage that could be pulled from the film.
But if anything has made "On the Road" so beloved, it's not its artful composition, but its yearning: the urgent passion of its characters to break free of themselves and postwar America and feel the freedom of the road.
Salles captures the backpacks slung over hitchhiker shoulders, the rushing scenery out the car window, the sound of a dirt road underfoot. But his film, from the screenplay by "Motorcycle Diaries" writer Jose Rivera, ultimately feels conventional: too neatly packaged and too affectedly acted.
As our Dean Moriarty, Kerouac's stand-in for Neal Cassady, Garrett Hedlund "Tron" gives his all in an ultimately failed attempt to find Moriarty's wild magnetism within him.
But he's missing the mythical spark of Moriarty and the grit of someone who grew up on the streets of Denver, stealing cars.
It's worth noting how impossible a task this is, to translate "On the Road" or make flesh Moriarty. Many have tried but it's no coincidence that it's taken this long for a film version.
Certainly, we can lament that we don't instead have an "On the Road" with James Dean or Marlon Brando, both of whom once considered it.
Imagine what Judd Apatow would do with "On the Road," a bromance if there ever was one. There are so many brotherly hugs and arms flung across shoulders in the film that you'd swear you were watching European soccer.
Paradise and Moriarty make a series of crisscrossing trips across the country, bound in a brotherhood of travel.
Paradise, Kerouac's stand-in, is forever jotting down notes while Moriarty jumps from one woman to another.
Carlo Marx, a. Allen Ginsburg Tom Sturridge is there, too, enamoured and in love with Moriarty, while sharing the intellectual ambitions of Paradise.
Salles has focused particularly on the carnality of Kerouac's tale, and it threatens to overtake the film. As Moriarty's first wife, Marylou, Kristen Stewart's slinky sensuality briefly dominates the movie, but her character is never developed beyond her sexy bohemia.
Better are the cameos of women left by the wayside. Kirsten Dunst, in a few scenes as Moriarty's heartbroken second wife, Camille, makes a stronger impression than anyone.
Elisabeth Moss, too, excels as a forgotten woman. She shouts: "They dumped me in Tucson! In Tucson! In the end, "On the Road" remains paved over.
I loved the book enormously when i read it a couple years back. I shot through it in two days and just thought it was a fantastic read with an incredibly high energy feel to it.
Its almost like the reading equivalent of several cups of coffee The film by contrast doesn't have any of that specific wired high energy feel to it, in fact i thought the film kind of saps some of the energy from the story by trying to place it all in the context of a story that has to have a beginning, middle, and end.
I get that any adaptation of this was going to have to do some reconfiguring just because any movie is going to need to have a story with a clear through line for people who aren't familiar with the book to understand and that's OK, but at the same time it kind of takes away some of the amazing strength of the book.
In fact it kind of reminded me of the Robert Redford 70's version of "the Great Gatsby" in that while faithfully recreating the scenes from the book, they kind of forgot to infuse the film with the lively energy that their source material had in spades!
Enough about that tho because as a film "On The Road" is solidly enjoyable enough and pretty well made as a film that its hard not to like it in general.
I did in fact watch virtually the entire movie with a huge smile on my face because i enjoyed in no small measure the staging of certain scenes from the book, as well as catching certain lines that i remembered vividly from the book but not until hearing them spoken in the film did i think about how great it was that the screenwriter and director thought to include them.
The film itself to me even gets better in retrospect because at first i didn't particularly like either Sam Rielley or Garret Hedlund as Sal or Dean.
Thought they were both entirely miscast, but in truth as the film went on it was a lot easier to accept them as the characters if only because i think i had such a specific type in mind for both characters--Sal should have been less grizzled, more naive Even that i understand that you can't overdo Dean Moriarty because then you run the risk of going too far and having him not be believable as someone who could easily charm this entire group of people, but again as the film goes on, and the scenes go by--it becomes a lot easier to accept the two actors as Sal and Dean.
I feel like that's actually true of the film as a whole too. It kind of starts out with a whole i don't know about this kind of vibe and it quickly wins you over because of the confident way the scenes from the book are put across.
I really do feel like Walter Salles properly caught the spirit and underlying sadness of the book but didn't quite capture the mad passionate high energy level that makes the book such an intoxicating read.
While that initially came to me as disappointment i got to admit that the film much like the book its based on grew on me as i was watching it, and if the film can't be exactly like the book, its at least a fair to solid enough interpretation of the book's characters and events that i can gladly accept and enjoy it on its own merits.
The fact that its also beautifully filmed and has a great accompanying soundtrack help enormously! Post-war depression drips in the air, jazz blares out of the wireless and young, ambitious writer Sal Paradise Riley, weakly disguised Kerouac is desperate to live and write about all that is life.
Through a chance encounter, Sal meets Dean Moriarty Garrett Hedlund , a cocksure rumble-tumble type of guy who has spent almost every day of his young life road tripping across America, eager for all the kick and kickbacks that life has to offer.
Down the years there have been numerous false starts to bringing this now canonised classic to the silver screen, starting in when Kerouac penned a letter to Marlon Brando asking him to play Dean.
Salles attempts to distil the essence of the story and provide a sense of period that is essential to the spirit of the text.
That said, there are moments when this adaptation shines. I just hope the movie doesn't disappoint. Overall I can't imagine they could have done any better because the source material isn't very adaptable.
I think that people who have read the book are going to understand it.. The people who haven't might be a bit confused.. Either way, its a brilliant movie!
Excellent acting, beautiful cinematography and one of the freshest period soundtracks in a long time. It's a period piece without an easy-to-follow narrative, whereby the characters' quest for self-discovery and meaning are captured in Keraouc's descriptive, free-flow writing style more than any identifiable plot point.
Francis Ford Coppola bought the film rights in , and for 25 years, seemingly every A-list actor and director were attached at various points, but the project always fell through.
After enlisting Walter Salles no stranger to "the road movie" and scribe Jose Rivera, we finally have the long-awaited film adaptation -- and, as one might expect, it's largely directionless and unfocused.
There are plenty of reasons why this story is so hard to adapt one being that it's so personal to so many, that it's probably difficult to tell it from an objective point of view without smacking of self-adulation is the same reason why The Catcher and The Rye will never be made into a film: the problem with depicting these existentially provocative iconoclasts your Dean Moriarty's, Holden Caulfield's, Christopher McCandless', etc.
Instead, the aim tends to be trying to get inside these characters' heads to capture their streams of consciousness as a means of development.
It's a justifiable approach, but how long can a film sustain itself without allowing adequate time to reveal WHY these characters feel this way?
For example, the film does an admirable job of depicting the relationship between Dean terrifically played by Garrett Hedlund and Sal Sam Riley and their coming of age, but this is post-World War II America -- there's little to no mention of the Cold War, of McCarthyism, of the Truman Doctrine -- a pivotal time in America's history were rigid conformity was not only encouraged, it was required.
For a group of kids to commit to debunking and challenging these ideals, at a time in life where one is supposed to graciously let go of one's adolescence in the name of maturation is quite astonishing.
Here, in the film, you'll see lots of sex, drugs and rock and roll, but not enough fleshed out ideas. There are moments in Kerouac's novel that are existentially provocative, even profound.
Salles and company clearly poured their hearts into the film, and while there are a few bright spots Hedlund's performance comes to mind , a book of this magnitude deserves better.
On The Road, the novel, is a landmark of American literature. On The Road, the film, falls short. I have not read the book, nor do I plan to, because I'm at once admiring how well made the film is and yet how bizarrely disgusting it can get.
It shifts from people walking to sexual deviancy to people walking to people sitting in cars into some really twisted stuff. Essentially, we have a guy who spends the film as basically the voice-over guy, the blond dude from that crappy Tron movie screwing everything that moves literally , and Kirsten Dunst, Viggo Mortenson, Terrence Howard, Amy Adams and Kristen Stewart all inexplicably being in the movie.
All the others are barely on screen for ten minutes, essentially a bunch of extended cameos just to say "Hey look, we got famous people too! Nude scenes are always a little weird in movies there's never any reason to include them, and if they go viral, like the one in "Titanic," it follows you , and Stewart's character is either naked, humping the two male leads, or doing her trademark blank look while staring into space which this movie proves is not her fault; it's obvious that she keeps getting told to do it.
Technically there's nothing wrong with the movie. It's shot beautifully, the acting is fine enough, yet something is so very off about the film.