‘Baillie’s trip is wedged between two generations of youthful nomads; the Beats (contemporaneous with Hollywood’s heydey of Western expansion) on one side, the hippy transhumances (and Easy Rider) on the other. That Quixote could be claimed, at different times, by each is a sign of its hinged position to two vastly different projects. Unlike either generation, Baillie could not be comfortable with the ethos of non-commitment or, for that matter, transcendence. Like both, he would be in but not of, and vice versa, except that in Quixote, these states are emblematic of the conquistador, an altogether diaristic myth.’ – from “Quixote And Its Contexts” by Paul Arthur, Film Culture
#67-68-69, 1979
Menu
