Two couples swim naked in a pool. No nudity is shown, they are under the water.
It is minorly implied that a man between two gravestones is receiving oral sex, yet two other characters block the view below his waist. His facial expression is what implies it.
Full frontal nudity is shown for a little less than a minute during an LSD scene.
A couple of sexual references
Nudity is shown in one of the ending scenes where the group is in an LSD induced state.


Film review:Translated by www.rabudo-ru.com


In 1976, Morris Dickstein, an American literary historian, wrote in the 1960s: “To grow up as an adult is to feel irreparable and irreparable for the first time. We realize that every way we take, there must be many other roads that have not been taken, and many roads will never be taken. The mixed talents and knowledge of adulthood are always different from the impulsive passion of youth; but the road of experience does not necessarily end in futility and frustration, just like the vision of youth Hope is not necessarily because innocence is the same as hope. ” (Maurice dixten, the gate of Eden – American culture in the 1960s, Shanghai Foreign Language Education Press, 1985) this is a typical American youth Rhapsody in the 1960s.

He believes that religious thought can be divided into two categories, one is the tragic religious thought of birth, and the other is the utopian religious thought of accession to the WTO. In his opinion, the American culture in the 1960s, even the whole American culture, came into being under the latter tendency. In the 1960s, Americans were “obsessed with secret arts, respected Oriental religious magicians and meditation Kung Fu, and achieved short-term Nirvana through drug abuse, polymorphic behavior or rapid therapy”, which was the result of “the transformation of Utopian religion into secular humanism”. In this belief, people believe that moral and spiritual victory can be achieved by improving sensory enjoyment.

Here, the latter tendency is connected with two levels: the former Eden and the future Utopia. The garden of Eden points to redemption, which is the desire for birth in the former tendency. It is because of the deep entry into the world that it wants to go back; Utopia is forward-looking. It wants to break the present and establish a heaven between people, so we have to go.

The free rider is like a wonderful footnote to this argument.

It is easy to recognize the shadow of the United States in the 1960s in the film: drug abuse, group intercourse, rock and roll, carnival, hippies… Two guys riding Harley went south all the way, one clue after another, and a throbbing America broke out in the repeated sound of rock and roll. And they actually talk about the most difficult philosophical and religious propositions of freedom, redemption, existence and nothingness. In connection with dixten’s conclusion, this madness of entering the WTO points to a higher level: the utopian religious tendency. There are religious beliefs and secular political demands. According to me, the former Eden and the future Utopia. On the other hand, “free rider” is a typical commercial film (the most typical example, as the ancestor of road film, its main selling point is set on the scenery along the road from the beginning, and the audience gets pleasure by consuming the scenery). It colludes with the current ideology and is content with the present world. It can be said that its own form naturally rejects this pursuit. In fact, this is the paradox of American culture in the 1960s, that is, the problem that followed dixten’s reference to “the transformation of Utopian religion into secular humanism”, that is, the tension between the current world, the former Eden and the future Utopia: we can neither go back to Eden nor Utopia.

The long series of interlaced scenes at the end epitomizes the dual nature of the film. In my opinion, this is the keynote scene of the whole film.

White and Billy took the girls in the brothel to the cemetery. After taking drugs, they fooled around together. The next lens appeared as a nightmare running out of the hearts of the four people. The lens quickly switched between different scenes, accompanied by an ambiguous murmur like nonsense.

Throughout, there is a prayer made by a young girl in the cemetery, about how people degenerate and how to seek salvation, in which the religious meaning is clear. The interpretation of the original sin here directly points to the construction sound as the background. Before that, the two protagonists went through a construction site to the cemetery. The construction sound from the construction site implies the connection between human degradation and highly developed capitalism: the latter’s harm to human nature is like industrial civilization embedding itself into the body of nature, like the wild dog that died miserably in the city by the roadside of the cemetery. The film has been trying to reveal this. The Catholic families and hippie groups met by the two protagonists on the road carry the words on this theme: a way of life far away from industrial civilization. The impulse of the road film itself to leave the city illustrates this point (Harley motorcycle, as a symbol of industrial civilization, is a typical example of the above paradox). Women’s nudity here is a symbol of redemption. Their posture is the posture of Jesus’ crucifixion and looks like the Virgin Mary. The voices of two prostitutes have been talking about death. At the beginning of the prayer, the girl on the other side talked about the resurrection of Jesus. When the two are connected, it is easy to see the theme of redemption. Here, corruption and redemption point to the garden of Eden. The once happy land has long disappeared because of our sins, and the hope of redemption lies in looking back at the garden of Eden.

In addition, there is a voice of political appeal in addition to the theme of religion. The Star Spangled Banner behind White’s clothes and the gesture of hugging the statue of liberty say this. It is easy to see this kind of appeal by referring to the gossip between the lawyer and Billy about freedom in the sleeping out above:

“This country used to be a good country. I don’t know what went wrong.”

“Everyone has chickens. That’s it. We can’t even enter a second-class hotel.”

“What they fear is not you, but what you represent.”

“What we represent is that everyone needs a personalized hairstyle.”

“No, you represent freedom… Talking about it is different from realizing it. Real freedom is very difficult, especially when you are bought and sold in the market, so don’t tell people you are not free. They will prove you wrong by killing and doing evil.”

Here, the current politics is considered bad, and the prescription given by the film is not a step-by-step reform, but a concept of a great world (represented by the self-sufficient hippie community). The demand for social justice is a kind of utopianism, which is combined with the search for personal truth.

In this long series of shots, the beginning and end are the same shot: the sun shines at an angle of 45 degrees. Behind this sunshine, is it the former garden of Eden or the future Utopia?

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