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小说《在路上》被公认为20世纪60年代嬉皮士运动的经典,它让69号公路成为了载着即叫即停、可随时搭车的“自由与爱”的美国梦。如今,这幅乌托邦式的画卷传到了远在巴西的导演沃尔特·塞勒斯的心中,他被深深影响,并最终将其制作成电影。青春与“垮掉的一代”二战后,美国社会有这么一群男女青年作家,他们性格粗犷豪放、落拓不羁,他们生活简单、不修边幅,厌弃工作和学业,以浪迹天涯为乐,他们永远寻求新的刺激,寻求绝对自由,纵欲、吸毒、沉沦,以此向体面的传统价值标准进行挑战,因此,他们包括他们的作品,被称为“垮掉的一代”。影片的核心人物狄安就是这么一类人,没有他就没有“在路上”的一切,在他的带动下,周围人找了个借口就跟着一起“上路”了。他们搭车赶路,结识陌生人,放纵性情,随心所欲,在
The novel On the Road is widely recognized as a classic hippie movement of the 1960s, making Highway 69 the American Dream of Free and Love with freewheeling, ready-to-ride. Today, this utopian picture reaches the heart of director Walter Sellers in Brazil, where he is deeply influenced and eventually made into a movie. Youth and the “Beat Generation” After World War II, there were such a group of young men and women writers in American society who were bold and bold in character and unruly in nature. They lived a simple life without renovating their work and study. New stimuli, seeking absolute freedom, indulgence, drug addiction and perdition, challenge the decent traditional values, and as such they include their work, known as the “beaten generation.” The core figure of the film, Di An, is such a type of person. Without him there is no such thing as “on the road.” Under his drive, the people around there find an excuse to follow along. They hitchhiker, get acquainted with strangers, indulge their temperament, at will