Jodie Comer and Austin Butler star in The Bikeriders, a gripping film thick with the roar of engines and the smell of grease. Directed by Jeff Nichols, this cinematic marvel draws inspiration from Danny Lyon’s 1967 book of the same name.
Set in the Chicago Outlaws Motorcycle Club, which has been fictionalized as the Vandals to avoid any real-life confrontations, The Bikeriders features a star-studded cast, including Tom Hardy as Johnny, Austin Butler as Benny, and Jodie Comer as Kathy.
Nichols emphasizes how he had to walk a fine line in portraying the gang without glorifying their violent lifestyle. He mentions, I wouldn’t use the term ‘glorify’. The first hour is intended to be romantic, for sure. Even though there’s violence, we’re having fun: we invite the audience in. Once you reach the second half, the music pulls back, the voiceover falls away, and the realities of the choices these people have made start to be seen in serious ways.
This tonal shift is where Kathy’s character shines. Played by Comer, Kathy offers a fresh perspective that sets her apart from the macho environment around her.
The narrative transitions through Kathy’s voiceovers recorded on a reel-to-reel tape machine by Danny (Mike Faist). This touch intentionally places some distance between the audience and the bikers. You know, ‘It’s time to have a woman narrate this masculine movie!’ That idea wasn’t lost on me. But Kathy is the most interesting voice in the book.
The dynamic between Comer and Hardy reaches a crescendo when Kathy confronts Johnny about Benny’s future with the gang. According to Nichols, this scene exemplifies Comer’s talent: Whenever two actors are facing off in a scene, I always ask them, ‘Who wants to go first?’ Jodie came in and her tempo was bam-bam-bam! She’s trying to run the scene fast, and Tom’s reaction was to slow right down. Oh man, that scene was great!
Butler’s portrayal of Benny brings an enigmatic quality to his role; he embodies a serene, feline beauty which carries over from his Oscar-nominated performance in Elvis. His relationship with Johnny is not overtly romantic but is tinged with complexity. Nichols elaborates: Tom wears this leather jacket, and underneath that he’s also wearing a leather vest that’s cinched. Obviously, he’s a totally ripped guy so every time he moved, you’d hear this creeeak. You can’t get away from that sound—it imbues the scenes with sexuality.
Nichols’ film adeptly handles themes of identity and rebellion while offering an insightful look into sub-cultures like biker gangs. In doing so, it evokes reflections on societal norms and what it means to belong.
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