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‘Heart Beat’ of a Beat Generation

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“Heart Beat,” a film about Beat Generation legends Jack Kerouac and Neal Cassady and the woman they both loved, is a meandering character study that lasted in movie theaters (in 1980) only a few weeks. But for anyone fascinated by these cultural revolutionaries and their high-flying lives, the film is an enjoyable piece of nostalgia; a kind of ‘50s version of “Easy Rider.”

The movie begins with Kerouac (John Heard) and Cassady (Nick Nolte) taking their famed trip across the country to San Francisco and Kerouac’s long struggle to recount the odyssey in his novel, “On the Road.” In San Francisco, they meet Carolyn (Sissy Spacek), upon whose book the film is based, and both instantly fall in love.

Spacek is alluring, but never gets much chance to act, in the underwritten role of Carolyn Cassady. The film is really about the love between Neal, living every moment like it may be his last, and Jack, intellectual and shy and lost without Neal. Nolte and Heard are perfectly cast, as is Ray Sharkey (most famous for his mobster villain in “Wise Guy”), who plays a fictional version of outrageous poet Allen Ginsberg.

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“Heart Beat” seems disjointed and clearly was intended to be a much longer, more developed film. But what’s left are some striking moments recounting two individuals who in many ways institutionalized the lifestyle of alienated youth.

“Heart Beat” (1980), directed by John Byrum. 109 minutes. Rated R.

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“Cutter’s Way” (1981), directed by Ivan Passer. 109 minutes. Rated R. The story of a crippled veteran, his best friend and their efforts to solve a murder, this is also one of the best introspective character studies to come along in years, a welcomed island of reality in Hollywood’s sea of fantasy.

“Orphans” (1987), directed by Alan J. Pakula. 120 minutes. Rated R. Albert Finney as a blustery Chicago gangster who is abducted by a crazed third-rate thief and held in the dilapidated house the thief shares with his younger, backward brother. With his mid-Western gangster slang and alcohol-tainted good manners, Finney parodies both American films and American values, uproariously.

“The Killing” (1956), directed by Stanley Kubrick. 83 minutes. No rating. A band of very serious thugs plan the biggest score of their careers. An urgent, no-nonsense, unrelenting film by the man who went on to direct “Dr. Strangelove,” “2001” and “A Clockwork Orange.”

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