By Sean Rogers
After the decline of the studio system, Hollywood would often struggle to find fresh ways of generating sure-fire hits. 1969, for instance, saw the release and surprise success of Easy Rider, whereupon the studios, the story goes, decided the “youth picture” was where the money was. Universal, however, discovered otherwise in 1971 when both The Hired Hand and The Last Movie, Peter Fonda and Dennis Hopper’s Easy Rider follow-up projects, flopped spectacularly (as did Monte Hellman’s Two-Lane Blacktop, among the first films released by Universal’s youth-oriented division). In the early 1980s, John Carpenter’s films provide a similar object lesson in industry obtuseness, this time with regard to the profitable corner of the market carved out by exploitation films in the 1970s. These genre picture’s inherent transgressive qualities may simply have proved too unseemly for the larger, blander platform of multiplexes and PR campaigns the studios would present to them.