Big Sur


As one of three Jack Kerouac motion pictures to be released in the U.S. within a six-month span, this offbeat drama from writer-director Michael Polish Northfork cinematizes Kerouac's 1962 novel of the same name. While the original tome enlisted pseudonyms for the real-life literary figures, however, the movie version dispenses with aliases. The film finds Kerouac Jean-Marc Barr disenchanted with the Beat mythos and hounded from all corners by fans who hunt him down and demand his autograph. In need of solace, he...
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As one of three Jack Kerouac motion pictures to be released in the U.S. within a six-month span, this offbeat drama from writer-director Michael Polish Northfork cinematizes Kerouac's 1962 novel of the same name. While the original tome enlisted pseudonyms for the real-life literary figures, however, the movie version dispenses with aliases. The film finds Kerouac Jean-Marc Barr disenchanted with the Beat mythos and hounded from all corners by fans who hunt him down and demand his autograph. In need of solace, he slips into self-imposed exile, via a retreat at his friend Lawrence Ferlinghetti's Anthony Edwards cabin in seaside Big Sur, CA. Within a few days, however, he grows equally restless there and heads back to San Francisco to fraternize with Ferlinghetti and other buddies, including Neal Cassady Josh Lucas, a married man who introduces Jack to his mistress, beautiful single mother Billie Kate Bosworth. Jack and Billie fall for one another instantly, and begin a passionate affair, but over the following days, Jack slips into an inexorable funk, sitting in an armchair for an inordinate amount of time and refusing to move or function. Ultimately, he suggests to Billie that they try to return to Big Sur once more, to recapture the magic of the past; the young woman agrees, though she desperately wants Jack to settle down and start a family with her, and it remains entirely unclear if he's capable of doing so.
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Special Features

Closed Caption
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Editorial Reviews

All Movie Guide - Nathan Southern
Jack Kerouac published his roman à clef Big Sur in 1962 -- a point perched midway between the picaresque, freewheeling perambulations of On the Road and the cirrhosis that led to the author's death in St. Petersburg, FL, in October 1969. The text, with its thinly veiled fictionalizations of real-life belletrists, follows Jack Duluoz (a stand-in for Kerouac) as he enters a self-imposed exile at a friend's rural cabin on the North California coast. Once there, he contemplates the nature of his own celebrity, temporarily drifts back to the joys of the early Beat years, and ultimately experiences an almost complete emotional and mental dissolution. As written and directed by Michael Polish (Twin Falls Idaho), the 2013 adaptation of Big Sur dispenses with the novel's pseudonyms and has the actors playing the real-life literary figures. Narratively, it plunges into Kerouac's mind and never abandons his perspective. To achieve this, Polish loads the soundtrack with nonstop monologues pulled from Kerouac's tome, and fills the frame with almost psychedelic natural imagery that aptly recalls the free association of the text in its booze- and uppers-fueled mode. Per the gossamery quality of Kerouac's writing, the filmmaker also liberates the movie from more conventional narrative structures: An episodic picture if ever there were one, it glides from the Big Sur retreat to a series of spontaneous road trips with the Beat writers to a particularly effective subplot that has Jack struggling with a psychic breakdown and creative block during a relationship with his lover Billie (Kate Bosworth). To Polish's credit, he comes far closer to cinematically realizing the effervescent spirit of Kerouac's writing than Walter Salles Jr. and Francis Ford Coppola did with their arch, wooden adaptation of On the Road. If that picture felt too conservative and safe -- if it desperately needed to take the same cinematographic and stylistic risks that Kerouac did on the page -- the same can't be said of this cinematization, which turns visual free association into a guiding principle. Also, unlike the Coppola/Salles picture, the Polish movie nails Kerouac's paradigm in its many different guises, including the exhilaration of his road cruises with his buddies, the zen of his naturalism, and his creative impotence and inner sexual death. Those assets shouldn't be underestimated, particularly in light of the many individuals over the years who have branded Kerouac's work "unfilmable"; Polish proves them wrong. And the lead performances are outstanding across the board. Jean-Marc Barr evokes the real Kerouac (visually and emotionally) with such approximation that we may feel we're watching a documentary, and Bosworth beautifully and cleanly portrays the emotional persuasiveness of Billie as she tries unsuccessfully to get Kerouac to make a lifelong romantic commitment to her and abandon his countercultural ways. But those strengths notwithstanding, the movie has its share of flaws. Polish enlists a small gallery of wonderful character actors, including Anthony Edwards (as Lawrence Ferlinghetti) and Henry Thomas (as Philip Whalen), but they are so underutilized that they almost feel like disappearing acts. Conceptually speaking, one can understand the rationale behind this: Because the movie exists entirely in Jack's mind, we don't really need to see more of these individuals. But the casting of well-known actors hurts the film: We recognize these players and want to see more of them by virtue of their natural charisma. The movie also fails in terms of the quantity of soundtrack narration that it hands to us. As mentioned, it does help depict Kerouac's inner spirit and mind-set, but it also overwhelms us to the point of exhaustion; we get so many monologues that we may feel like we're watching a "Visually Annotated Big Sur, not unlike the awful "Visual Bibles" that pair an image with every verse in the Christian gospels and leave no room for interpretation on the part of the audience. And although the movie has many emotionally involving sequences -- particularly some fabulous comedic set pieces involving the early stages of Kerouac's crack-up, and the final quarrels between Jack and Billie -- it desperately needs more closure than it provides to us; it merely ends with a stream-of-consciousness monologue over a close-up of Barr's face that does nothing to convincingly resolve the internal conflicts in Kerouac which Polish sets up. In fact, it almost feels as if someone truncated the last act. When the final credits roll, we can't quite believe that the movie is over; we feel cheated. Miscalculations aside, though, this is a bold and brazen picture with elements of mad genius. It's a crazy man's film, but no less welcome for being so, and despite its significant problems it's often quite enjoyable. It may not constitute the perfect Kerouac adaptation, but it gets enough about Jack and his craftsmanship right that fans of the legendary author will likely feel a sense of vindication.
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Product Details

  • Release Date: 1/14/2014
  • UPC: 796019827539
  • Original Release: 2013
  • Source: Ketchup
  • Region Code: 1
  • Presentation: Wide Screen
  • Time: 1:21:00
  • Format: DVD
  • Sales rank: 5,362

Cast & Crew

Performance Credits
Jean-Marc Barr Jack Kerouac
Kate Bosworth Billie
Josh Lucas Neal Cassady
Anthony Edwards Lawrence Ferlinghetti
Radha Mitchell Carolyn Cassady
Balthazar Getty Michael McClure
Patrick Fischler Lew Welch
Stana Katic Lenora
Henry Thomas Philip Whalen
John Robinson Paul Smith
Jasper Polish Vulture Girl
Vanessa Ross Lady Dining
Richard Conti Cabbie
Natasha Goss Party Girl
Jeffrey Ferguson Bar Patron
Deanna Marks Wife
Shelby Lyon Emily Cassady
Katrina Sherwood Wifey
Talaria Haast Beatnik Partygoer
Jesse Soares Naked Hot Springs Stranger
Veronica Loud Deli Customer
Brenda Marie King Mrs. McClure
David Ojakian Orderly
Seth McCracken Timmy Cassady
Bennie Bell Orderly Johnson
Peter Kepler Waiter
Briana Eason Restaurant Patron
Ryan Teeple Elliott
Jason Wong Victor Wong
Stevenson Heriveaux Partygoer
Catherine Poon Bus Passenger
Technical Credits
Michael Polish Director, Producer, Screenwriter
Max Biscoe Production Designer
Geraud Brisson Editor
Aaron Dessner Score Composer
Bryce Dessner Score Composer
Chris Douridas Musical Direction/Supervision
Robert Frazen Editor
Marcy Guiragossian Casting
Nina Henninger Casting
Ross Jacobson Producer
Adam Kassen Producer
Donal Logue Executive Producer
Mark G. Mathis Co-producer
M. David Mullen Cinematographer
Matthew Nicolay Sound Mixer
Sean O'Grady Co-producer
Bic Owen Costumes/Costume Designer
Charity Ozarowski Asst. Director
Jeffrey Pitts Sound/Sound Designer
Dominica Posseren Casting
Mark Roberts Executive Producer
Jim Sampas Executive Producer
Kubilay Uner Score Composer
Eduardo Vaisman Executive Producer
Kelly Wagner Casting
Orian Williams Producer
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Scene Index

Disc #1 -- Big Sur
1. Jack Kerouac [6:53]
2. It's Time To Leave [7:49]
3. Neal Cassady [7:39]
4. Fired [7:29]
5. Hot Springs Bath [8:22]
6. New Job, New Car [6:02]
7. Billie [9:17]
8. Face To Face [7:23]
9. Fish [3:21]
10. Death [6:51]
11. Finish The Job [3:42]
12. End Credits [6:18]
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Disc #1 -- Big Sur
   Play Movie
   Scene Selection
   Set Up
         English 5.1 Dolby Digital
         English 2.0 Dolby Digital
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