As explained at the beginning of "magical journey", Kesey and his crew decided to film his trip - began in the West Coast and lost like a missile aimed at the Expo New York - and bought the camera to do so. But they do not think, or know how to synchronize sound, so Ellwood Gibney and his editor have long faced an editor's nightmare - miles of film, and no indication of what is said or when. As the narrator says Stanley Tucci in the first chapters of the film, the pranksters spent 40 years trying to change before Kesey simply storing.
The solution for Gibney ("Taxi to the Dark Side", "Client 9: The Rise and Fall of Eliot Spitzer") and editor of Ellwood has been long comment that the group recorded the post. trip, while watching the rushes These voices provide the soundtrack to the film as well as the questions came 45 years later by Joe Tucci, and a musical score that avoids the psychedelic rock of the era - Ike Turner, Dion, Duke Ellington and John Coltrane.
Jokers - including the novelist Robert Stone, Beat icon Neal Cassady (Dean Moriarty of Jack Kerouac Model "On the Road") and passengers with surnames such as bare of travelers, and Intrepid swordsman (Kesey) - have never been proto-hippies, post-beatniks were, with a much greater affinity for the intellectual adventure of the end of the 50 ethics of free love of 60 years behind (not that "there was much love in the bus). Kesey was a writer with two acclaimed books ("on a cuckoo's nest," "Sometimes a Great Notion"), and all the LSD had come not so much drug use, but in search of enlightenment. (The film goes into detail on the long history of LSD, and during a particularly long episode, Kesey a recording made by a trip sanctioned by the government.)
The bus ride was a fairly anonymous real, even if much of what came out, it became part of the cultural infrastructure (yes, the Grateful Dead and their participation in the Kesey is part of the discussion here). Mythology joker was really pushed into the mainstream of Tom Wolfe and his science fiction novel 'Electric Kool-Aid Acid Test ", which appeared in 1968 and inspired by all sorts of tuning, turn off and abandon. There is no mention of Wolfe, films, but what Gibney and Ellwood are re-creating a moment, and even before the book was published.
The production values are largely irrelevant, because the aesthetic of the film at home, but the use of the discoveries and the music is great, Imaginary Forces, and the animation is often very intelligent.
Camera (color / B & W, 16 mm), editor, Ellwood, music, David Kahne, music supervisor, John McCullough, associate producers, Sam Black, Susan Johnson, design / animation, Imaginary Forces. Reviews in the Sundance Film Festival (Premiere) January 21, 2011. Duration: 90 min.
