jack nicholson as Bobby claims to not feel anything but what that actually means is he feels a lot of shit and it doesn't feel nice because he's a total Guy In The Seventies and doesn't know how to balance doing "hard work" plus "having a good time" with being a sensitive pianist and a scared little boy on the inside. his well-to-do family of musicians include people who he generally ignores, though his sister is an incredible sweetheart (smart and a tad awkward, but full of feeling and good humor). strained relationships with dad and bro, no surprise there, and depictions of troubled masculinity throughout the movie- from the physical ailments of dad (stroke) and bro (some neck thing, now he can't play his violin), to the law hauling away Bobby's dim, giggling pal (who seems to represent self-satisfied, "settled down" blue collar america, the authentic version of what Bobby pretends to be). as the film's most prevalent on-screen plot complications (the family issues are established as having arisen before the time period which is the subject of the film) are Bobby's relationships with two different women (an emotionally dependent, intellectually simple, gaudily feminine pregnant waitress who is Bobby's mental inferior but moral superior; and a softspokenly delicate, independent fellow musician (and soon to be sister-in-law) who is Bobby's emotional superior and intellectual equal), it is important to note (and commend) the depth and variety of gender depictions presented in "Five Easy Pieces". overall, it seems like the women (sister, pregnant girlfriend, short-term love affair) come off as more stable, thoughful, compassionate, and rational people, though there are certainly negative female counterpoints (the "pompous celibate" and the almost intolerable [but hilarious] hitchhiker). the most likable male character is probably the nurse, who is little more than a hulking, whitewashed mass of comic relief and a chance for the sweetheart sister to demonstrate her full personhood through sexuality. i'd like to go on about the visuals, but i've spent so much time on the gender bit that all i'll say is: that bit after Bobby gets on a moving truck and plays piano up the exit ramp, the next scene, he's walking around in what basically looks like a George Segal from the late 60's/early 70's, and it is evocative in the same way, with the same economy of image and lack of (need for) verbal explanations. also, T. Bak pointed out to me the expressionist use of the oil derricks in the aforementioned run-in-with-the-law scene, which is a praise-worthy utilization (and transformation, from eyesore to emotional barometer) of that machine.
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