{"id":455,"date":"2021-07-26T04:51:19","date_gmt":"2021-07-26T04:51:19","guid":{"rendered":"https:\/\/onanysunday50th.com\/?page_id=455"},"modified":"2021-07-30T03:53:05","modified_gmt":"2021-07-30T03:53:05","slug":"the-film","status":"publish","type":"page","link":"https:\/\/onanysunday50th.com\/the-film\/","title":{"rendered":"The Film"},"content":{"rendered":"\t\t
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Oscar nominated for Best Documentary \u201cOn Any Sunday\u201d is by far the\u00a0greatest motorcycle film ever made. Before its release in 1971, motorcycling\u00a0was always portrayed by Hollywood as a bunch of renegade hoodlums on choppers,\u00a0causing problems wherever they went.\u00a0<\/p>

Coming off the heels of the worldwide success of \u201cThe Endless Summer,\u201d the\u00a0groundbreaking film about the evolving surf culture of the 60s,\u00a0director Bruce\u00a0Brown set out to change the perception of motorcycling with the release of On\u00a0Any Sunday. Brown was determined to capture the\u00a0sport of motorcycling from his\u00a0own unique perspective and lens. Along with his friends Steve McQueen, Malcolm\u00a0Smith, and Mert Lawwill, Brown\u00a0directed his camera at the action while focusing\u00a0on the various disciplines of motorcycle racing and, most importantly to Bruce,\u00a0the people and the\u00a0community shaping it. From Mert Lawwill\u2019s attempt to regain\u00a0his Grand National #1 plate in dirt track and road racing, to Steve McQueen\u2019s\u00a0real-life\u00a0weekend warrior racing in the desert and at the famed Elsinore Grand\u00a0Prix, to Malcolm Smith\u2019s other-worldly skills around the world at the\u00a0International Six Days Trial, Baja racing, hillclimbing and trials.<\/p>

50 years later, Bruce Brown Films now pays tribute to honor the entire\u00a0motorcycle community by presenting the re-mastered and digitally enhanced\u00a050th\u00a0Anniversary On Any Sunday edition. This newly released masterpiece brings the\u00a0audience a new experience to enjoy with friends and family!\u00a0From color correction\u00a0and image restoration to stunning PCM 5.1 surround sound of the original audio\u00a0and soundtrack, this new movie relives the\u00a070s like never before.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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50 years later, Bruce Brown Films now pays tribute to honor the entire\u00a0motorcycle community by presenting the re-mastered and digitally enhanced\u00a050th\u00a0Anniversary On Any Sunday edition. This newly released masterpiece brings the\u00a0audience a new experience to enjoy with friends and family!\u00a0From color correction\u00a0and image restoration to stunning PCM 5.1 surround sound of the original audio\u00a0and soundtrack, this new movie relives the\u00a070s like never before.\u00a0<\/p>

In a world of YouTube, X-Games, and GoPro\u2019s, the film still resonates with\u00a0people of all ages because it\u2019s about the stories, the action, and that\u00a0humble,\u00a0funny, and captivating voice of Bruce Brown.<\/p>

Though we lost Bruce Brown in 2017, his legacy lives on with this new version\u00a0of On Any Sunday that is ready to be enjoyed by new generations\u00a0who have never\u00a0seen it on the big screen. Bruce wouldn\u2019t have it any other way.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Cast<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Steve McQueen<\/p>

Malcolm Smith<\/p>

Mert Lawwill<\/p>

Keith Mashburn<\/p>

Dave Aldana<\/p>

Gene Romero<\/p>

Dick Mann<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Jim Rice<\/p>

Bengt Aberg<\/p>

Jo\u00ebl Robert<\/p>

J.N. Roberts<\/p>

Whitey Martino<\/p>

Cal Rayborn<\/p>

…and the hundreds of other fearless riders included.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Gallery<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tChicago Sun-Times By Roger Ebert - August 03, 1971<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Calvin Trillin is a man with an interesting job. He wanders all\u00a0over the United States for the New Yorker magazine and files dispatches about\u00a0what\u00a0our fellow Americans are up to in Duluth, Altoona, Cincinnati, and all the\u00a0Holiday Inns and Howard Johnson’s in between. At one time or another he\u00a0has\u00a0studied the life styles of\u00a0Paul Anderson\u00a0(world’s champion\u00a0weight lifter) and Fats Cohen (world’s champion pizza eater, until a recent\u00a0diet).<\/p>

During spring vacation this year, he wandered down to Fort\u00a0Lauderdale and Daytona Beach to check out the life styles of the college\u00a0students who\u00a0annually migrate there. In the course of his investigation he\u00a0asked himself, he says, whether the time had actually come when one felt\u00a0nostalgia at\u00a0the sight of a Phi Delta Theta sweatshirt?<\/p>

Like a\u00a0lot of good observations, that one uses very few words to imply an entire state\u00a0of mind. The whole world of the late 1950s and early 1960s\u00a0(when Trillin\u00a0doubtless saw many such sweatshirts, as well as garments bearing the emblem of\u00a0the Betas, the Sigma Chis and so on) is supposed\u00a0to have been rendered obsolete\u00a0by the plague of war, assassination and social misery that has descended on us\u00a0since.<\/p>

And\u00a0yet, if we can buy the Big Band Sound from Time-Life records and pick up\u00a0reprints of old Liberty magazines at the newsstand, is it not\u00a0permitted to feel\u00a0nostalgic for the slightly more recent past of rush weeks, exchanges, pledge\u00a0classes, chapter meetings? Just the other day, I saw\u00a0a girl wearing a\u00a0fraternity pin on her sweater, and the whole big 1960 thing about fraternity\u00a0pins (and sweaters) came rushing back to me.<\/p>

I\u00a0mention this only because you will probably not fully appreciate Bruce Brown’s\u00a0“On Any Sunday” unless such a sight brings memories rushing\u00a0back to\u00a0you. Brown’s movies are charming, infectious, clean-cut, and, enthusiastic as\u00a0only a Rush Chairman could be enthusiastic, leading a line of\u00a0jogging Actives\u00a0down the steps of the House to shake hands with potential Pledges wearing new\u00a0sport jackets and wing-tip shoes. That is why they\u00a0are so much fun to see. They\u00a0come from a world of innocence and simple physical pleasures.<\/p>

Brown’s\u00a0first film, which made him a great deal of money, was “The Endless Summer.” He took a 16-mm.\u00a0camera and a crew of two on a trip\u00a0around the world in search of something that\u00a0was perhaps not of earthshaking significance, but wouldn’t bite you when you\u00a0found it: The perfect\u00a0wave. Along the way, he visited a great many waves that\u00a0were imperfect for one reason or another, and we saw a lot of sun, sand,\u00a0healthy bodies\u00a0and spectacular surfing feats.<\/p>

The instrument weaving all those waves and surfboards together\u00a0into an enjoyable movie was the Brown voice which is youthful, unaffected and\u00a0genuinely enthusiastic. “Boy! That was a big one,” he said about any\u00a0number of waves, and the way he said it somehow made us agree that it sure\u00a0was.\u00a0Now he has made “On Any Sunday,” which does for motorcycle racing\u00a0what “The Endless Summer” did for surfing and it’s enjoyable in\u00a0exactly the same way.<\/p>

You and\u00a0I know that professional motorcycle racers must be a daring, violent and\u00a0occasionally dangerous lot. But Brown sees them as basically\u00a0having fun, and\u00a0when we got a close-up of a national champion who has just completed a six-day\u00a0race through rugged country terrain, Brown is\u00a0likely to say: “Here he is\u00a0now, still wearing that ear-to-ear grin.” And so he is.\u00a0<\/p>

A lot\u00a0more art goes into a film like “On Any Sunday” that might be\u00a0apparent. It’s tremendously hard to get the footage, first of all; a surfer on\u00a0a wave\u00a0operates within a relatively small area, but a two-mile motorcycle race\u00a0requires thousands of feet of footage from several cameras to be adequately\u00a0covered. Brown has somehow accomplished this (with some financial backing\u00a0from\u00a0Steve McQueen, who turns up in the\u00a0movie a couple of times).\u00a0What’s better, having done it he doesn’t tell us\u00a0about it.<\/p>

Despite the work that went into his film, and despite the\u00a0desperately difficult experiences that professional motorcycle racers endure,\u00a0he somehow\u00a0makes the whole thing seem informal, casual, relaxed. There is still\u00a0some tension there, but it’s masked by that ear-to-ear grin, like the night\u00a0luring\u00a0rush week when you didn’t have to wear a tie because the Interfraternity\u00a0Council had decreed a cookout.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Some men hunt the great white shark. Some men join roller\u00a0derbies,\u00a0while others go to the\u00a0moon. Some men like to knit. Some are freefall\u00a0parachutists. Some spend their\u00a0lives searching for the perfect woman or the perfect movie or the perfect wave.\u00a0With the possible exception of\u00a0knitting, all of these endeavors involve an\u00a0element of risk, either physical or psychological, to such an extent that the\u00a0attainment of the end\u00a0becomes less important than the excitation provided by\u00a0the pursuit itself.<\/p>

Five years ago Bruce Brown recorded one, round-the-world\u00a0search for the\u00a0perfect wave in “The Endless Summer,” which was a very\u00a0beautiful movie to look at (especially from the relative safety of a cloudy\u00a0smoking section)\u00a0and\u2014I’ve now come to think\u2014much less simple-minded than it\u00a0originally sounded. On the basis of his new film, “On Any Sunday,” a\u00a0feature-length\u00a0documentary about motorcycles and the men who ride them in\u00a0apparent pleasurable competition, Brown stands in way of becoming the\u00a0unofficial\u00a0poet of the sports world. He not only records and shares with us the\u00a0often extraordinary physical sensations experienced by the cyclists, but he\u00a0also\u00a0manages to suggest, in the absolutely flat language of the nonverbal\u00a0participants, that the joy of the sport may also be the mask that hides a\u00a0curse.<\/p>

Like clean-cut, monosyllabic Flying Dutchmen, Mert Lawwill and Malcolm\u00a0Smith, the professional cyclists whose exploits Brown follows\u00a0through the film,\u00a0lead lives of enchanted circularity: the winning of one event is not as much a\u00a0goal as the preface to still another competition, and\u00a0another after that. The\u00a0monetary rewards are never great and, often enough, the prizes are simply\u00a0trophies. At the end of one race in which death\u00a0might not have been too far\u00a0removed, Brown, as his own narrator, is likely to say with his unerring knack\u00a0for the anticlimactic comment: “There\u00a0stands Malcolm with a big\u00a0grin.”Malcolm himself is likely to say: “That was really\u00a0neat\u201d.<\/p>

It is not as silly as it sounds because the shape of the lives\u00a0recorded by Brown are almost necessarily anticlimactic; that is, until someone\u00a0gets hurt or (off-screen) killed. The movie itself is anything but\u00a0anticlimactic. By putting his cameras on the cycles, Brown achieves\u00a0audience-participation effects with speed that amount to marvelous delirium.\u00a0The camera work is fancy, but it’s a fanciness for a specific purpose, and\u00a0“On Any Sunday” is the first film I can remember in months in which I\u00a0thoroughly enjoyed the slow-motion, the zooms, the helicopter shots, the\u00a0superimpositions and all those other techniques that are the tired rhetoric\u00a0of\u00a0the narrative cinema. There is, I suspect, no other way by which to communicate\u00a0the sense of the intoxication that is the real goal of the cyclists,\u00a0and that\u00a0can only be realized through the intensification of all the perceptions.<\/p>

Brown\u00a0records just about every kind of cycling competition there is,\u00a0going from\u00a0southern California to Spain and back again, catching drivers who insist on\u00a0racing with broken legs, broken noses, and, in one instance,\u00a0with a back broken\u00a0six weeks before in an especially hazardous competition. “What kind of men\u00a0are these?” Brown asks, and the answer comes\u00a0not from what anyone says,\u00a0but from the crazy, sensational motion of the film, which is, I feel, in its\u00a0own way, a remarkable adventure, as simple\u00a0and as unique to film as the\u00a0picturization of movement.”On Any Sunday” which opened yesterday at\u00a0the Murray Hill, was, I understand, financed by\u00a0Steve McQueen, who also shows\u00a0up in the film from time to time as the very creditable cyclist he is.<\/p>

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The CREW<\/h3>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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ON ANY SUNDAY<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\tA documentary directed,\u00a0written, produced and narrated by Bruce Brown.<\/span>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\tPhotographed by Bob Bagley, Don\u00a0Shoemaker, Bruce Brown, Allan Seymour, Gordon Brettelle, Bob Collins, Dan\u00a0Wright, Richard Carrillo, Nelson Tyler, Mark Zavad, James Odom and\u00a0Mark\u00a0Brelsford.<\/span>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\tWith:\u00a0Mert Lawwill,\u00a0Malcolm Smith, Steve McQueen and others.<\/span>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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OTHER STUFF<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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On Any Sunday…40th Anniversary. Cycle World sits down with Bruce Brown and all the stars of the film for an in-depth story about the making of the film in the January 2012 issue.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Lifechanging. That’s how generations of riders have described the original On Any Sunday. Bruce Brown’s 1971 feature was a revelation, opening a door to the world of motorcycle racing and sharing the heart, drive and inspiration of what he calls “a great brotherhood of people” united in their passion for riding on two wheels. In this clip, personalities from On Any Sunday The Next Chapter — pros like Carlin Dunne, Robbie Maddison, Kendall Norman, Roland Sands and Ricky Johnson and fans including Transworld Motocross editor Donn Maeda and skier Daron Rahlves — look back at how the original movie touched their lives and energized the sport. For more info on On Any Sunday, The Next Chapter visit OnAnySundayFilm.com<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Synopsis Oscar nominated for Best Documentary \u201cOn Any Sunday\u201d is by far the\u00a0greatest motorcycle film ever made. Before its release in 1971, motorcycling\u00a0was always portrayed by Hollywood as a bunch of renegade hoodlums on choppers,\u00a0causing problems wherever they went.\u00a0 Coming off the heels of the worldwide success of \u201cThe Endless Summer,\u201d the\u00a0groundbreaking film about the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_theme","meta":[],"_links":{"self":[{"href":"https:\/\/onanysunday50th.com\/wp-json\/wp\/v2\/pages\/455"}],"collection":[{"href":"https:\/\/onanysunday50th.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/onanysunday50th.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/onanysunday50th.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/onanysunday50th.com\/wp-json\/wp\/v2\/comments?post=455"}],"version-history":[{"count":0,"href":"https:\/\/onanysunday50th.com\/wp-json\/wp\/v2\/pages\/455\/revisions"}],"wp:attachment":[{"href":"https:\/\/onanysunday50th.com\/wp-json\/wp\/v2\/media?parent=455"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}