Review by Doug Gibson
On this blog, I recently reviewed the semi-obscure "The Last of the American Hoboes," a late '60s feature-length documentary/narrative film history of hoboes. It was directed by Titus Moede (Moody), an iconoclastic actor/director/camerman/screenwriter/photographer who shot his films on a shoestring budget, when he could shoot them.
Moede died in 2001. I've long wanted to see an earlier documentary/narrative he bundled together. It's "Outlaw Motorcycles," 1966, a 35-minute short. Like "... Hoboes," it knocked around the basements of film distribution, with Moede selling many copies of both at a Los Angeles "mondo" film store, and through mail order. Both films entered the century largely ignored; neither was placed on the now-defunct TCM Underground. Both would have been ideal choices. In late 2023, both films were part of the several-films offering "Lost Picture set" Blu-Ray from Vinegar Syndrome. "Outlaw Motorcycles" was an extra for "The Last of the American Hoboes."I've seen both recently because "...Hoboes" is playing on Tubi. "...Motorcycles," for the time being, is on YouTube.
So, what do I think of "Outlaw Motorcycles?" Like "Hoboes," it's not a great film, but it's a fascinating time-capsule effort that merits more attention. This wasn't the first movie to feature motorcyclists, but it was very likely one of a just a few that was open-minded about its subjects. In this film law enforcement, while not overtly villains, are represented as individuals with power who will hassle the motorcycle gangs of that era.
Moede, who has solid history as a working actor, was a bohemian. While some scenes are staged -- as in "Hoboes," -- he walked the talk. The majority of participants belong to the motorcycle gangs that traversed California roads. Much of it was shot outdoors, and you can feel the uneasiness and/or fascinations people of that era felt watching the gangs.
The print I viewed was faded. Much of the dialogue (like "Hoboes") was probably dubbed later or just barely heard due to the low budget. But much of the film delivers authenticity. I particularly enjoyed the scene of a "biker wedding." The groom, after kissing his bride, gives several male biker buddies smooches on the lips. Another strong scene is a biker gang member's funeral.
The film has a scene where members of a biker gang meet and decide to raise money to buy lunches for victims during the Watts riots. The scene is probably staged but I'll accept that it occured. Like "Hoboes," it's strengthened by Moede's contacts and ability to go to locations that other films did not offer. In one scene a motorcycle gang member sports a Nazi swastika. I had though that association was a cliche, but apparently not.
Viewers learn in the film what a motorcycle gang's "mama" is. I'll keep it a secret. It leads to likely the most notorious/popular scene: a visit to a tattoo location where two "mamas" receive tattoos on two personal parts of the body. Gordon Barclay, an actor friend of Moede's who wrote and acted in "Hoboes," is the tattoo artist. I've read this film was banned in some locations. This scene is likely the reason. One shot in the scene, involving one of the "mamas," may be iconic. I know I've seen it before. It has the word "property" in it.
It's very low-budget, the film can plod at times, but it's an important film. Like Andy Milligan's early '60s short "Vapors," (a film about a NYC bathhouse) it provides a non-judgmental look at a culture that contemporary America -- at that time -- almost universally shunned and disliked.
