Wow! What a wild and utterly wonderful ride of a book! Peter Winkler has given us a highly detailed, totally unbiased and beautifully written biography of one of the most interesting and exciting stars to ever shine in the Hollywood firmament - even if this one blinked on and off more unpredictably than most every other actor or actress in the history of cinema.
Winkler's chapter on the classic EASY RIDER is in itself worth the price of admission: he presents all of the facts as to EASY RIDER's conception and inception and reception - facts that crash and conflict all over the map of the movie's history due to human fallibilities and foibles - yet doesn't make a definitive case for any one angle, as the best of truly honest writers would do. Like Welles' first (and arguably best)film CITIZEN KANE and the wars that ensued as to who actually wrote what, so it is with Hopper's first (and definitely best!) movie EASY RIDER. Ego prevents the total truth from ever being known about just about everything under the sun and stars (celestial as well as cinematic) - and this historian's dilemma is fully conveyed in Mr. Winkler's remarkable book. Continuing with the Wellesian parallel: Welles' second film - THE MAGNIFICENT AMBERSONS - did unto him what Hopper's second film THE LAST MOVIE likewise did unto Hopper. Both second films tanked. The one from a certifiable genius, the other from one who believed himself to be a genius and with the jury largely still out on the verdict for that claim. After both men's second shots having missed their targest, both actor/artists became nomads, pilgrims in search of profit and projects, selling their acting wares across the world in order to live the lives they felt predestined to live. Hopper himself noted this comparison betwixt himself and Welles in so many words. The echoes in the movie theater of history are truly remarkable to contemplate.
Dennis Hopper felt himself to be a genius - but in what particular way no one truly knows. Perhaps he was a genius in believing himself one. Well, genius or not - Hopper was beautiful and brutal, passionate and perverse, marginal and central. An actor, director, artist, writer, lover, drug addict, sex maniac, alcoholic, gun nut - Hopper had the elements so mixed in him that, truly, here was a man! And in Mr. Winkler's book we get to truly meet that man. Making a prolific use of the actual voice of Dennis Hopper himself (via choice excerpts from his myriad interviews throughout the years of his long career), added to a generous amount of critics' reviews of the most salient of the actor's films, and hundreds of quotations from Hopper's friends, enemies, wives and fellow artists, Mr. Winkler paints in prose a compelling and complex portrait of a compelling and complex man. Mr. Winkler does not shy away from Dennis the Menace's dark side at all - nor does he wallow in it or sleazily sensationalize it as a lesser writer might. When there are errors of fact in some of the many quotations that are richly interwoven with the main text of the book, Mr. Winkler points them out to his readers - as only the best film historians and writers would do. This is such an absorbing and humanely constructed biography that when it came to the final pages, I wept. I wept for the end of Dennis Hopper - and the end of the book. This speaks volumes for this volume: the book so vividly reflected the life of its subject, that when the final page was turned I truly felt that I had just lost someone I had personally known. Bravo, Mr. Winkler!
One caveat: the book's illustrations are fine but could have been so much better. I would love to have seen Hopper's parents or brother or children or some of his art or one of the final pictures taken of him when he received the star on the Hollywood Walk of Fame, mere months before his passing. Mr. Winkler painfully describes Hopper in those final days as prostate cancer took its toll on the actor. He was down to 100 pounds. When I subsequently googled photos from the honorary event of Hopper's receiving the star award, I was stunned. And profoundly saddened. A picture can be, yes, worth a thousand words - so being a biography of one to whom the visual was his very purpose in life, the text would only have been enhanced with better illustrations.
Addendum: Given the impact of James Dean on Hopper's life, I always thought it more than coincidental - and most probably somewhat cathartic for Hopper - that in the end of Hopper's first and best directorial effort, his character of Billy ends up - as did Dean - a roadside casualty of a collision with some other. Yes, for Dean it was another car (albeit operated by a man) and for Billy it was a shotgun blast (the shotgun likewise operated by a man) - but the correlation is unmistakingly there, whether Hopper wrote the whole of EASY RIDER including its ending (which he claimed) or not. And both deaths - that of the now mythic but once frail flesh-and-blood Dean and the fictional "easy rider" were the results of accidents. "What happened?" asks the one duck hunter of the other after the probably subconsious pull of the trigger that blasts Billy into oblivion - and Dean's alleged final words to his passenger/mechanic were (upon seeing the giant, solid Ford making an ill-timed left-turn in front of his small and fragile Porsche racing car) something along the lines of - "He's got to see us!" The ripples from the rock in the water are as fascinating and as mysterious as is the rock itself.
A final word: I wonder what is next on Peter Winkler's literary agenda. DENNIS HOPPER: THE WILD RIDE OF A HOLLYWOOD REBEL has definitely made me truly anticipatory of this extremely talented film historian's future work!