User Reviews

"The Loveless" was Kathryn Bigelow's feature film debut, (she co-wrote and co-directed it with Monty Montgomery). It's a very self-conscious homage to both "The Wild One", with Willem Dafoe in the Brando role, (it also marked Dafoe's 'official' debut), and Kenneth Anger's "Scorpio Rising" shot in the garish colors of the kind of fifties' melodramas that Douglas Sirk might have made. It's got a very rough and ready feel to it and the script and the acting leave a lot to be desired but it looks great, (Bigelow was a painter before going into movies), and it has a great soundtrack. Hardly anything happens and it might have worked better as a short but at 82 minutes it never outstays its welcome and is worth catching.

Before director Kathryn Bigelow became widely recognizable with her later effort in 1987's NEAR DARK, 1991's POINT BREAK, 1995's STRANGE DAYS and of course, right down to 2009's Oscar-winning war drama THE HURT LOCKER, she made her first feature debut in a low-budget independent drama called THE LOVELESS when she was still studying in NYC as a film student. THE LOVELESS is a stylized and eccentric genre movie that pays homage to 1950s biker movies (notably Marlon Brando's THE WILD ONE) with art-house sensibility. This movie is also notable as Willem Dafoe's first lead role.

Set in 1950s, the story centers on Vance (Dafoe), a leather-clad biker who rides into a small Southern town where he supposes to meet up with his fellow motorcycle gang at a cafe somewhere at Highway 17. Their plan is to head over to Daytona Beach for the races, but they forced to postpone for a while when one of their motorcycles breaks down. While waiting the broken motorcycle to get fixed in a nearby garage, Vance and his motorcycle gang hang around at the cafe. Along the process, Vance flirts a bit with a widowed waitress named Augusta (Liz Gans). She also hooks up with Telena (Marin Kanter), the rebellious teenage daughter of a psychotic father, Tarver (J. Don Ferguson).

THE LOVELESS is also co-directed by Monty Montgomery, who is best known for producing David Lynch's WILD AT HEART (1990). Both he and Bigelow favors a lot in fetishism (mostly close-up on leather outfit, motorcycle, chrome) that it's quite mesmerizing to watch their stylized eroticization of a '50s biker culture. Somewhere in between, you can also see Bigelow's earlier attempt in lurid direction that will later becoming one of her trademarks in her subsequent movies. Despite its low-budget standard, the visual is adequate enough for this kind of genre, while Robert Gordon's (who also appeared as an actor here, playing one of Vance's motorcycle gang member named Davis) rock soundtrack is a standout. As for Willem Dafoe, he made quite an impression playing a stoic lead character.

But most of the movie is a disappointment. Despite clocking at a brief 82 minutes, the movie can be excruciatingly tough to sit through. The pace is deliberately slow to a crawl, especially in the long-winded first hour. Here, the movie lingers in a circle as we watch the characters sit around and talk about nothing in particular. Other times we see them stare silently into space, waiting for something to happen, and all the mundane tasks that goes on and on. The purposefully-stylized dialogues, which meant to be cool, are mostly borderline into self-parody. Meanwhile, the sudden burst of violence that occurs in the final act, fails to deliver any would-be shocking impact.

Suffice to say, THE LOVELESS isn't much of a recommended effort, other than those who always curious to see how Bigelow and Dafoe get started during their early careers.

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I think this movie comes closest to what bikers experience while on the road. Boredom, waiting, mechanical problems, prejudice of the locals. I have done many transcontinental motorcycle rides alone, and this one captures it best. You're not going to come across Timothy Leary in the middle of nowhere (Roadside Prophets), or pick up Nicholson and get blown away (Easy Rider). There are long stretches where absolutely nothing happens. There is a scene where Dafoe sits in the bar and it is filmed in real time, security-camera style. Unbearable minutes go by and nothing happens at all, while a gorgeous Brenda Lee song "I Want To Be Wanted" plays in the background.

The loneliness of riding alone and coming into town alone is what makes this movie poignant and beautiful in a quiet way.

This movie is also a rockabilly heaven. Eddy Dixon's superb opening song Relentless is possibly one of the most difficult songs to find in print. NYC rockabilly singer Robert Gordon also serves up some over-the-top method acting here. DaFoe's narrative voice is already wonderful here, as is Bigelow's filmmaking style. Sometimes I explain this movie to people as one where the tables are turned and men get objectified. It's an interesting dynamic to see what mainstream films have done for so long to women done to men.

The plot is about a group of bikers who are en route to Florida to see some auto/bike racing. They are coming from different states and planning to converge at a meeting point. One of the biker's Harleys break down and there is a delay that holds them up in a small Georgia town. Dafoe runs into a daughter of a redneck at a gas station and hooks up there. Everything finally hits the fan at the local bar.

Lots of nice shots of vintage bikes. Harley shovelheads and knuckleheads are in effect throughout the movie.

Willem Dafoe earned his first starring role in this somewhat obscure biker film that also marked the filmmaking debut for future A list director Kathryn Bigelow ("Point Break", "The Hurt Locker"). Dafoe plays Vance, one of a bunch of bikers that stop over in a small town on their way to some races in Daytona. Unsurprisingly, they shake up the local populace, despite the fact that as some movie depictions of bikers go, they're kind of on the tame side.

While there are some appreciable exploitable elements (namely, nudity), "The Loveless" is indeed much more mood piece than action film. It does capture a certain slice of Americana at a certain time (the 1950s), when outsiders and rebels such as Vance and company were treated with suspicion. It's not completely without humor, but is also not afraid to get pretty grim and tragic. Excellent location shooting and local flavor help to make this feel authentic. Bigelow and her co-writer / co-director Monty Montgomery, who went on to work with David Lynch on a couple of projects ('Twin Peaks', "Wild at Heart", etc.), get able performances out of their mostly no-name, regional cast. Dafoe shows definite screen presence and charisma in this early showcase, while Tina L'Hotsky has plenty of appeal as the young sportster driving girl who catches Vances' eye. One of the co-stars is Robert Gordon, who's pretty good himself; he's been an icon in the rockabilly genre and naturally also composed much of the score.

Highlighted by a literate, philosophical script by Bigelow and Montgomery.

Seven out of 10.

This is the kind of debut from a director that says to me, "I didn't have a plot or budget that supports a plot, but to prove myself here's a movie anyway."

Willem Dafoe leads his gang of 50s goths on a journey of minimal introspection even as they are stuck in a one-horse town, trying to get down to Daytona for the 500 (I will never not geek out over casual NASCAR references in film). Not much happens besides the gang trading quips back and forth in their ancient teenspeak, which reminds me a lot of the merry band of molokos from A Clockwork Orange. Here it's kind of grating to the ear to watch and listen to everyone underact their persona.

It's at least nicely shot, and approaches something of a story when the bikers cross paths with what amounts to this town's oil baron. In its final act, it's almost pretty likeable, but stilts on a feverishly dark ending.

Deep down it's a film about outcasts, but less about them causing trouble than being caught in a pot where trouble's already been stirred. If you wanna see Dafoe's junk, come take a ride.

I watched this one for 1) Dafoe 2) the bikes. Having read a review or two already, I knew that it would be a slow ride, focused more on story and character than any action. My only disappointment was the poor acting by (almost) everyone but Dafoe himself. It could be that most of the actors were uncomfortable with the 50's 'beat' slang. There was one pivotal moment very near the end, when I wondered which way the writer would go with the final tone (or point) of the movie. A bit oh nihilism every now and then is fine, if only to keep some variety in our viewing experience. The sound track is a strong point that seems to be overlooked. As is the look of the film, in terms of cast and setts, as they add a great deal without standing out (which is as it should be when done right). In the end, it was Dafoe moving through that well done set to the well done soundtrack that is what you watch. The other actors/characters are just set decorations.

I was more than a little surprised when Kathryn Bigelow bagged herself a best director Oscar for The Hurt Locker; I enjoyed Near Dark, Blue Steel and Point Break, but there was nothing to suggest an Academy Award in her future. Having just watched her debut feature The Loveless, I'm surprised that she went on to have a career in film-making of any kind, let alone winning the most coveted gong of them all.

This film should have been called The Plotless. Or perhaps The Pointless. Or, as my daughter suggested, The Lifeless. There is no story to speak of - just 80 or so minutes of leather-clad '50s bikers lounging around a dusty nowheresville truck stop while they fix one of their motorcycles.

Apparently it's 'mood piece' that aims for atmosphere over narrative. This means that when one character asks a question, the other person stares meaningfully for about thirty seconds before grunting a reply. The bikers smoke a lot, comb their hair a lot, and drink a lot (beer, coffee, coke), brooding as they do so. Eventually, greaser Vance (Willem Dafoe, here looking relatively normal) hooks up with a pretty, young tearaway called Telena (Marin Kanter), which upsets her sweaty, gun-toting father. This leads to an altercation in a cocktail lounge which ends with Telena shooting her father and then herself (the only remotely interesting part of the whole film).

After the dust has settled, the bikers climb back on their bikes and hit the blacktop, presumably to hang out in another bar or diner for some more drinking, smoking and combing of hair.

1/10. It's really not my bag, daddio.

Now that this beautifully sculpted, wildly atmospheric, true-to-the-era in which it is set movie is on DVD, I've watched and re-watched it many times. This is more of a review of the DVD than of the whole film, and the spoilers are more DVD commentary-related than plot-related, so read on if you wish.

This is, by far, one of the finest films paying homage to the motorcycle enthusiasts (or outlaws, as it may be), settings, and characters of the 1950's that I've ever seen, and I own many, so any rockabilly guys or gals out there reading this review - this movie is for you! It's moody, sexy, violent, and slick - great eye-candy with an outstanding cast of characters.

The DVD has one of the better commentaries, featuring conversations with the film's co-writer/co-directors Kathryn Bigelow & Monty Montgomery, as well as the film's star, Willem Dafoe. Dafoe credits the movie's directors for starting his career with this movie, a fact which Monty Montgomery humbly shrugs off. They get into the movies they watched that directly influenced how "The Loveless" was shot, trivia notes, like how Robert Gordon, who was paid to score the flick blew all of the budget on on single calypso tune that is featured for a few minutes of the film. It would also seem that Gordon, who is most noted for being a rockabilly musician (and an excellent one at that!) was inadvertently cast while meeting with the film's directors. Gordon created some on-set tension that flickered mainly between himself and Dafoe, as Gordon felt that he was the only one on set who truly understood the whole biker/greaser world.

It is interesting to note that the movie was Bigelow's thesis for film school, as well as her directorial debut, and it must've earned her some high marks, as she's gone on to work with people like David Lynch! Montgomery, too, has worked extensively with Lynch, producing "Wild At Heart", working on "Twin Peaks", and acting in "Mulholland Dr."

For those who expect this to be a biker exploitation flick (like "The Wild One" and all of its followers thereafter), you're in for a surprise. The directors intended for the audience to feel as if that is what they were in for while the initial scenes unfold, but as the story moves forward, we realize that it isn't so much a biker film but more of a kind of a wild-west movie. Monty Montgomery credits Edgar G. Ulmer's short, noir film "Detour" as being the major influence as far as the style, the framing, and the shots of "The Loveless" go. He also credits Kenneth Anger's movie "Scorpio Rising" as the movie that inspired the whole homo-eroticism of the biker world as presented in this, Montgomery's earliest film.

For those interested in some trivia, here ya be - Originally titled "U.S. 17", which used to be a U.S. superhighway up until the 1960's when the I 95 highway replaced it as the major thruway from Georgia to Florida and up to New York, the entire film is shot on location along this now abandoned stretch of blacktop. Monty Montgomery, the movie's co-director, grew up in and around the Georgia area where the film was shot, and at the time of filming, the stretch of road was like a time capsule, with abandoned motels, diners, and gas stations along the way which had not changed since the 40's and the 50's. This made the reality of the movie much easier to capture, and cut down massively on the cost of what would have meant sound stage creations of all of these types of locations. I wonder if any of these places exist now, as the movie was done at the beginning of the 80's? I can only hope...

There is no disguising that this film focuses more on atmosphere than on plot, and there is no pretense to suggest that the directors intended anything else. Montgomery even refers to it as "eye-candy", and why not? Sometimes my eyes crave the cavities offered up by such sweet treats as "The Loveless"! There are many a long, lingering shot of beautiful vintage 'cycles being worked on, close ups on tattoos (one of the actors, Larry Matarese, who plays "La Ville", opted for an actual old-school pinup gal tattoo on his forearm before filming began), tension-creating pauses while characters look on sipping coffee in a diner or lean on a 50's Coke machine clad in leather and denim, and all of this works for the piece that this movie was meant to be.

It is somewhat of homage to "The Wild One", but only in that it deals with motorcycle enthusiast-rebels in the 50's - all other plot comparisons and similarities fall by the wayside.

Though they wished for a score that was more like Sergio Leone's large, sweeping, and melodramatic western film's scores, and they were held back by budgetary constraints, I felt what they did have to work with offered the film the nostalgic atmosphere perfectly. The score as it stands on the DVD (which, unfortunately is not on CD, record, or tape, darn it!) largely done by John Lurie (of "The Lounge Lizards" fame, and also a regular in many Jim Jarmusch films), along with a minimal amount of tracks supplied by Robert Gordon, can be credited for being the cherry on top of this 50's diner served, tasty milkshake of a flick!

~T.Paul www.t-paul.com

They ride fast and live dirty and cool, that could be a tagline for The Loveless. The characters in this biker gang, who are actually relatively peaceful compared to the people in The Wild One (they aren't that rebellious, but just enough to make an impression), and just want to chill in a small not-quite town until they can go down to Daytona for a big race. But there isn't much to do in terms of hanging out. Sure, they can work on their rides in a local garage, and sure Willem Dafoe's Vance has a ladies-man charm that is uncanny (or just, you know, 'bad boy' style, as we see in an opening scene where he helps an older woman with a flat tire), and sure there's a night of revelry in a bar. But these guys aren't looking too much for trouble, relatively. It's more about how they just want to drink some good booze, listen to their rock and roll, and unfortunately get harassed by rednecks who think their Commies.

I can't really say for Monty Montgomery, as he directed this as his first feature and then went off into producing (save maybe for the connection to Wild at Heart), but as Kathryn Bigelow's first film as co- director it shows so much promise for the rest of her career. And intriguingly it's not quite like her other movies. It's inspired by some of the Wild One, some rock and roll, but in its look and melodramatic shades such as with the girl Vance hooks up with it's akin to Douglas Sirk. It's visual sheen is very 1950's, and it's got guys on bikes who are looking for a good time, and all the actors are cast spot on. Fun to watch as well is one of the bikers played by Robert Gordon, a Rockabilly legend. But it's Bigelow's vision that makes it unique, and perhaps Montgomery's affinity for 50's low-down road culture.

It's hard to pin-point what makes the movie interesting since, frankly, not a whole lot happens. There's the romantic fling Vance has with the girl- a scenario shot with loving close-ups to the girl and a fine look to the motel bed scenes- and there's some doing with the sub-plot of the redneck dudes looking to beat some biker ass. But the tone is what counts here, and what may actually turn off some viewers. There isn't a lot of 'plot' and in some ways, more than any other Bigelow film, resembles a European piece that concerns itself with how these guys move, react, listen to the music (and there's a lot, a close second to American Graffiti in terms of amount of 50's rock tunes, this less recognizable but still as meaningful), and get drunk in a bar with what looks like 100 bottles on a table.

What it comes down to in The Loveless is you can either take the figurative ride with these guys just hanging out, or not. I did, and it was enjoyable once it got me in its grasp. It's never boring though; you always are a little on edge that something *could* happen, and when it does (i.e. the confrontation between the girl's father and Vance) that it reaches a dramatic peak, or of course with the violent climax that could be an homage to Peckinpah. It's just a different kind of biker movie, less concerned with action and more about what it was like to be these guys, or be around them, in a sleepy nothing-town in the mid 50's. If Antonioni made a biker movie and had to have a soundtrack of wall-to-wall rockabilly, it might be this.

Bigelow debut film in a bikexploitation key. The director proves she knows her predecessors: The Wild One (Il Selvaggio, Benedek, 1953) of course, but also The Wild Angels (I Selvaggi, Corman, 1966) and probably the project by Romero Knightriders released the same year, just to mention those "copyright." Easy Rider, 1969 by Hopper, less influential than the hippy iconography of the 1960s rather than the bikers of the 1950s. The film made a very young Willem Dafoe known at the beginning of his career. Last notation: Bigelow deals with the topic in a testosteronic key, a feature that we will find in her subsequent films especially those of a military-military setting, among all The Hurt Locker, 2008 with which she won the Oscar in 2010!

I saw 'The Loveless' years and years ago but I'm still searching the internet for it; it must have been on TV because I didn't see it at the cinema and it isn't available on video. I watched the film because it had bikes in it and was amazed - it has a great sound-track, stunning visuals with glistening chrome and shots of motor oil that you can almost touch (the repair scenes in the garage).

The first time you see the film the ending is a surprise - after you've thought about it for a while it becomes obvious that it's the only ending the film could have.

I'm stunned that this film seems to have vanished. It is impossible to obtain on tape or DVD and even some of my film going friends that reckon they like Kathryn Bigelow have never heard of it.

Bring it out on DVD - NOW!

A motorcycle gang stops at a small town in the South, on their way to Daytona in Kathryn Bigelow's directorial debut (co-directed with Monty Montgomery). It's also Willem Dafoe's credited screen debut, and he plays the lead.

At first I was annoyed by the perfection of hair, costumes and sets: all the hair perfectly set, all the leathers looking like their just came from the showroom, all the motorcycles just off the factory floor. Then, as the movie advanced and the imperfection of the characters were revealed, I realized it was an indictment of 1950s Amerika, with a perfect surface covering up social and psychological rot. It was an amazing insight, or would be if William Dieterle had never existed, but he did. Still, it points to a demand for such movies, and who can blame a first-time film maker for treading safe ground?

Kathryn Bigelow's first feature, as well as Willem Dafoe's first credited role. Dafoe plays a 1950's biker who rolls into a small Georgia town en route to Daytona and meets up with some biker friends. The locals treat them with a mixture of fascination and contempt. But this isn't EASY RIDER or THE WILD ONE... its moody atmosphere plays more like a meeting of Kenneth Anger and David Lynch. Eerie bright colors, an aura of sleazy cool, homoerotic imagery, long lingering shots, smoky score and hip soundtrack. I found it fascinating and it unexpectedly drew me into its world. Some of the performances are weak and some of the writing is corny, but ultimately these flaws just add to the sense of iconography at play, a kind of mythical recreation of archetypes from another time. These characters (both the bikers and the townsfolk) are indeed "loveless", living without drive, detachedly picking up cheap kicks wherever they can. I really enjoyed watching this stylish, elegiac film.

Vance (Willem Dafoe) is a greaser in the 50's. He rides his motorcycle into a remote roadside diner. More bikers arrive on their way to Daytona. This is written and directed by Kathryn Bigelow and Monty Montgomery. Monty seems to have gone on to produce documentaries. I have to assume that this has a lot of Bigelow's fingerprints in her first full length feature. It's a lot of nostalgia for the 50's bikers but not necessarily the narrative drive to give the story tension. It does have Dafoe and the other actors are not that bad. The issue is that they are luxuriating and stylizing but the story moves very slowly. In one section, a girl literally takes Dafoe on a ride in her T-bird. Quite frankly, she should be introduced earlier. She needs to be the stranded motorist in the beginning. She needs to be the second lead of the movie. Tarver needs to be a bigger threat. He needs more screen time. He needs a bigger actor. He needs to be bigger. This movie needs more violence early. It needs an earlier dose of intensity. It needs more drive.

In the 1950s, a group of leather-clad bikers led by Vance are on their way to Daytona, Florida to compete in a race, but they get sidetracked into a quiet Georgia town to fix up a broken down bike. The uptight locals see them as nothing but trouble, and surely enough problems occur. The waitress of the dinner catches Vance's eyes and another being a brash, young teen, Elena.

Wearing black leather never looked so cool! "We're going nowhere… fast" Well, this tag-line accurately describes this sublime, independent feature. Sure, it's not for everyone's tastes, but I loved this ultra-slick, inventively moody trip through the eyes of a couple of laid-back bikers of the 50s. For some people it might be aimlessly dull, because of the mellow tempo and it consciously ticks a long at a leisurely pace with vast empty spaces. I found it to be an evocative tale (despite being quite broad) that has a real hypnotic trance surrounding its arrestingly stylish framework that milks out the sullen atmosphere. There's such an authentic feel about it and so many inspired and iconic imagery seeping off the screen that you can't bear to take your eyes off it.

The film was co-written and co-directed by Kathryn Bigelow and Monty Montgomery in their first major feature. The pairs' profoundly, textured direction, catches every little elegant detail (great use of the soothing neon-lighting and composition) with the guidance of Doyle Smith's crisply spacious cinematography. Being shot on location really added to the film's natural presence and unattainable free spirit. Story-wise, there's nothing really conventional about it, but just letting the poetically distinctive situations evolve into an impulsively, harrowing conclusion. The dialogues are rather dry and very sparse with splashes of sly remarks. While, it might not have a lot to say in its context. The stirring visual and music contributions do actually round it off nicely. A divinely, swish rockabilly soundtrack by Robert Gordon and mostly John Lurie becomes a major part of the scene, as it does shape the swanky feel.

A huge curiosity would be that of William Dafoe's first major feature role and he rings true in a brilliant performance. His confidently, hardened turn simply has you in awe of his on screen magnetism. There are memorable no-bar performances by Robert Gordon, Tina L'Hotsky, Lawrence Matarese, Danny Rosen and Phillip Kimbrough, who snugly fill the shoes of the tightly rapport biker gang. Marin Kanter has attitude in her part as, Elena. J. Don Ferguson plays Elena's father, Tarver and brings to the table a character just waiting to crack. Finally, Elizabeth Gans is delightful in her role as the waitress, Augusta.

This is more than just a basic biker; exploitation movie and I sure loved it. A beautifully, worthy obscure gem that's worth a look for those who enjoy a lot finesse mixed with a touch of enigma.

Kathryn Bigelow's first film as a director. It's a superior biker flick, with the characteristic Bigelow gloss already visible. Don't remember much of the plot, but there are scenes - mostly between Dafoe and the eerily underage-looking Marin Kanter - that have stayed with me ever since I saw it years ago. Violent and sexy and almost too cool for its own good, with a rockabilly soundtrack by Robert Gordon and lots of long tracking shots of glossy cars and bikes. Worth watching, and one of Dafoe's less stunned performances (he really is much better on stage.)

Actually, I haven't seen "The Wild One" lately, but just re-watched "The Loveless" on DVD. To my thinking, if you like Terrence Malick's movies, this is like finding a "lost" one, although maybe a little less intelligent. "Rumble Fish" would be another close comparison. This is very worthwhile, as long as you're in the mood for mood. Even though it has a story, that's not really the point.

It's "biker Noir"...not a whole lot of point to it, but very beautiful. And Willem Dafoe is in it, so that's a sure thing. And Robert Gordon, too. One bonus... the bikers are on their way to Daytona, and there's some actual old Daytona footage, when it was races on the beach, on the sand. That's the kind of authenticity this movie brings, capturing things that really don't exist anymore. If you're a fan of getting a glass Coca- Cola bottle out of a machine, this is for you.

"The Loveless" has apparently built somewhat of a cult since it was first released more than thirty years ago. To a degree, I can sort of understand that. There are some positive things to be found here. Though a low budget movie, the movie looks good, from the convincing period detail to the photography. The acting is also well done; you can really believe these brooding characters. And the atmosphere is appropriate for a movie about hard core bikers.

Unfortunately, despite positive things like what I've listed, the movie didn't work for me. In fact, I think that most viewers will be dissatisfied as well. There is a big problem, and that problem is that there is virtually no plot. The movie is just one scene after another where little to nothing (usually nothing) of consequence happening. I admit I came close to hitting the eject button on my DVD player several times because I was quite frankly bored. In the end, I can only recommend the movie to hard core fans of anyone in front of or behind the camera.

Kathryn Bigelow made a name for her self as one to watch with this moody loose remake of The Wild One. A gang of bikers rides into a slow back water town for a pit stop to be received by a suspicious town folk. Stylish and very cool Dafoe as the leader of the bikers is charismatic and very watchable. Recommended.

Given the great things that Bigelow went on to (not least, Point Break and Strange Days), I've been meaning to catch up with this for a *long* time. I'm therefore glad to note that it also lives up to its reputation.

Although some of the acting is a bit weak in the outer members of the biker gang, Willem Dafoe is just great, as are the women. Given his more recent "craggy" appearances, it's quite startling to note how beautiful he was as a young man and it's hard to believe that this was his first major role, given the assuredness on display. Having Robert Gordon on board for the music also lends authenticity to the overall feel of the film.

Plotwise, it could be seen as a standard "Wild One" retread but Bigelow gives it enough ambiguity around the nihilism to maintain interest throughout, I feel.

Recommended.

Grossly underrated dark and moody circa 1950's biker film with leading actor Willem Dafoe as biker Vance and the too hot to handle biker chick Tina L'Hotsky as Sportster Debbie. Vance gets tied up with two of the local chicks, the abused daughter Telena (Marin Kanter) and the bored local diner waitress Augusta ( Elizabeth Gans). I was so impressed with Elizabeth Gans performance that I became curious as to her other performances only to find out Ms. Gans was a one trick pony and we will never get to see her seductively strip down to her tightie whities and dance for the biker boys ever again. That is unfortunate because the few scenes Ms. Gans appeared in she lit up the screen with her sex appeal even when just in her waitress uniform.

I can't say enough about the choice of musical score as it was perfect for establishing that feel for anticipation of what will happen next in the film. As for director Kathryn Bigelow she proved that she belongs in the midst of Academy Award winning directors (2008 The Hurt Locker) with this early career credit as both writer and director.

Actors Dafoe, Kanter and Gans I give them top marks and I would have rated the film a 10 but yet I have to also consider the less than stellar performances by Robert Gordon and Danny Rosen as two of the band of bikers whose lackluster attempt at playing chicken with their switch blade took away the momentum that Dafoe and Kanter had sustained. No wonder neither Gordon nor Rosen continued very long with their acting careers. Yet I wonder why Ms. Gans chose to hang up her acting credentials after delivering such a magnetic premiere performance in The Loveless.

Some of the other IMDb reviewers complained there was too much talking and not enough action but kudos to director Kathryn Bigelow who combined a great musical score with scenes that left her audience anticipating what will happen next.

I intend to add The Loveless to my personal film library and I rate it a more than deserving 9 out of 10 IMDb rating.