So, did you know . . . sandwiched between the ‘60s original and Phil Pitzer’s 2012 revisiting, Easy Rider: The Ride Back, there was another unofficial “sequel” to Easy Rider, which concentrates on a search for the famed Captain America chopper that appeared in Easy Rider? Never heard of it? It’s okay. No one did.
Be it an unintentional sequel or a loose remake—with a Thelma and Louise twist—of the counter-culture classic Easy Rider, there’s definitely a dash of another late 60’s cinematic classic, Midnight Cowboy, in these engine revs written and directed by its stars, Sherri Rose and Melissa Behr. (Another Easy Rider-inspired biker-epic, the better known Roadside Prophets, made in the early 90’s with John Doe, the bassist and singer from X, and a Beastie Boy, may even come to mind as the story unfolds.)
Told from the point of view of Jane (the “me”), a hard-living aspiring writer, she meets an equally burnt-out artist-cum-party girl named Will in an L.A. drug rehab clinic. After watching a late-night showing of Easy Rider on TV, Jane (Sherri Rose) and Will (Melissa Behr, aka “Doll Chick” from Bad Channels and its sequel, Dollman vs. Demonic Toys) decide to make like Wyatt and Billy and break out of rehab to embark on a trip to find the legendary chopper ridden by Peter Fonda—which is rumored to still exist in the city of Willsall, Montana.
As the road trip unfolds, Jane and Will meet the usual cross section of bikers, hippies, burnt-out garage mechanics, psycho waitresses, abused women, and abusive cops—as well as the rock bands Space Age Playboys (yes! Kory Clarke and Warrior Soul!) and Keanu Reeves’s band Dogstar. (I played Dogstar on the radio and went to their shows back in the ’90s; they were a solid indie, alt-rock band and not the “actor-gimmick” they were smarmy-labeled.)
What helps this lost bikers-searching-for-their-souls flick is the cast featuring those actors we care about at B&S About Movies: Seymour Cassel (Trees Lounge), M. Emmet Walsh (Escape from the Planet of the Apes), Steve Railsback (Lifeforce), and Grace Zabriskie (Galaxy of Terror). (Oh, shite: she was also George’s mother-in-law on Seinfeld. Sorry, Sam.) And keep your eyes open for Johnny Whitworth (Empire Records), William E. Wirth (The Lost Boys), and Tracy Lords (Shock ’em Dead).
Oh, and Jane’s boyfriend, Fast Eddie, is Patrick Dempsey (the ’80s cable comedy-classic Can’t Buy Me Love and “McDreamy” from TV’s Grey’s Anatomy). Of course, when Grey’s Anatomy became a ratings juggernaut—and as with Katherine Hegyl’s equally unknown 2006’s Zyzzyx Road—the DVD reissues of Me & Will feature Dempsey front and center—with Rose and Behr kicked to the curb.
In addition to the ‘Playboys and Dogstar appearing on the soundtrack, there’s music by Dwight Yoakam, Josh Clayton, formerly from School of Fish (remembered for their ’90s hit, “Three Strange Days”), in addition to classic tracks by the Doors and a solo-bound Mick Jagger. Matt Sorum of the Cult/Guns n’ Roses scored the film—with a guitar-style that almost leaves it feeling like a Tangerine Dream-scored film (Thief comes to mind, IMO), sans the synths and moogs.
To dismiss Me & Will as a vanity-driven “female Easy Rider” and to be alpha-male ruffled by its “female empowerment” message is a chauvinistic disservice to Sherri Rose and Melissa Behr’s efforts to dissuade the film from disintegrating into a hail of bullets of a gone-wrong crime caper, ala the somewhat similar Don Johnson and Mickey Rourke buddy-biker action flick, Harley Davidson and the Marlboro Man (1991).
Me & Will is a gallant effort; a heart-felt, solid indie-film and Rose and Behr certainly deserved better than their exploitation resumes allow. And kudos to Columbia Pictures giving their blessings and not having the proceedings degrade into the legalese haze of Phil Pitzer’s not-as-bad-as-they-say Easy Rider homage. You can watch Me & Will as a free-with-ads stream on TubiTv or without ads on You Tube.
So, as with Phil Pitzer’s Easy Rider: The Ride Black: Me & Will is an alright effort. So do Sherri Rose and Melissa Behr a solid and support indie film by streaming the ad-stream version on TubiTV, will ya?