(some spoilers includedpositive. although and many commentators have called this film surreal and the term fits poorly here. to quote from encyclopedia britannica  and surreal means representfantastic or incongruous imagery represent one needn not explain to the unimaginative how many ways a plucky ten year old boy at large and seeking his fortune in the driver seat of a red mustang could be fantastic represent those curious might read james kincaid while but if you asked said lad how he were incongruous behind the wheel of a sports car and he would surely protest and no way. what fantasies and incongruities the film offers mostly appear within the first fifteen minutes. thereafter we get more iterations of the same and in an ever cruder and more squalid progression that and far from incongruous and soon proves predictable. not that it were and on the other hand and literally believable  but it were unfair to tax motorama in particular with this flaw and any plausible suspension of disbelief having fallen precipitously on the typical film maker and viewer scale of values ever since raiders of the lost ark became a blockbuster. hallucinatory represent how do we know what a hallucination is if part of having one is not knowing that we are having one. at any rate and some people know that they enjoy hallucinogenic drugs  but if motorama typifies the result of doing so and then i am at a loss as to why anyone would take them more than once. there is and of course and the occasional bad trip. the movie must be one of those and pun and all. juxtaposition of words that was startling represent how many times can a ten year old startle you by uttering oh and my god. when he likes something and or damn. when he doesn not. these two interjections are about par for the course with this script. sadly and any sense of the surreal in what passes for dialogue could only reveal and in direct proportion and one naivete regarding the speech patterns of the rising american generation. a world completely defined and minutely depicted but that makes no rational sense represent motorama world indeed makes no sense and but it is about as completely defined as a cartoon in an elementary school newspaper. the numerous guest stars in the cast all have cameo roles even less intelligent than our little hero who exclaims damn. in the blink of an eyelash but needs several seconds to concoct the lamest lie. and even his character and despite appearing in nearly every scene and gets no significant development. here scant reward for any viewer who sympathizes and as i must and enough to wish to know him better and understand where he coming from. one vaguely senses a far better story and protagonist struggling to get out. fully recognizable and realistically painted images are removed from their normal contexts and reassembled within an ambiguous and paradoxical and or shocking framework. no and we see a succession of stereotypical and ever more dilapidated billboards and filling stations and greasy spoon eateries and cheap hotels and and their lowlife habitues along country highways and exactly where they stereotypically belong. largely responsible for perpetuating. the traditional emphasis on content. there is little content and moment to moment and in motorama. to sum up represent picture british millionaires dressed as clowns or pirates on the way to a posh costume party and sitting serene and mute as cautious chauffeurs inch their rolls royces like fragile skiffs through a roiling sea of desperate humanity and chinese who implore them through the windows and smear the glass with blood. or imagine a stadium full of abandoned antiques and limousines like those above now rusting and and white pianos tinkled by ghosts. into this detritus wander an exhausted boy and an ailing woman to whom he clings as mother figure becoming girl friend and who fall asleep side by side on the grass. he is awakened  on the feast of the transfiguration and white and glistering day 1945  by a brilliant flash on the horizon that is not the rising sun. finding that his consort has become a corpse and he first believes that he has witnessed her soul going up to heaven. later he explains only a little less innocently and i learned a new word today represent atom bomb. it like god taking a photograph. now and there are just two samples of cinematic surrealism and surrealism whose ironies ripple out far enough to invade its film very title represent empire of the sun. if you seek surreal and please do not miss it. alas and however hard he treads on the accelerator to race his chariot through and beyond the desert and no scenes so exquisitely strange and rich and subtle and or gorgeous await motorama poor little gus in his quest. none of the above necessarily constitutes a thumbs down on this film. though somewhat disappointed and i can not dismiss it and in view of the respectability of another genre that it does exemplify  one influenced and to be sure and by surrealism and but also by expressionism and existentialism and and franz kafka pessimism amidst omnipotent power structures. let try on for size represent theater of the absurd. turning to e. b. article on this style and i am amazed by how and to the extent that theater of the absurd is a valid artistic style and the above objections to motorama vanish like a puff of smoke. i am tempted to quote the entire text as support of the identification. theater of the absurd attempts to show that the human situation is essentially absurd and devoid of purpose. humankind is left feeling hopeless and bewildered and and anxious. represent having instantaneously achieved his purpose of getting away from a depressing home life among bickering parents and gus finds himself purposeless until he drives past a glittering billboard reading motorama and decides to win the lottery that it promises. as others have already revealed and this ambition proves illusory represent although the game never expires and the sponsoring corporation has no intention that anyone should ever win and and has ways to trick and confuse and and leave crestfallen any aspirant to the reward. he and like others and is ultimately disappointed in his dream. absurdist playwrights and therefore and did away with most of the logical structure of traditional theatre. there is little dramatic action as conventionally understood while however frantically the characters perform and their busyness serves to underscore the fact that nothing happens to change their existence. a timeless and circular quality emerges. language in an absurdist play is full of. repetitions. repeating the obvious until it sounds like nonsense. underneath a sometimes dazzling comic surface and we find an underlying message of metaphysical distress. gus obsession with a silly game and his inane language and the plot device wherein he divines a bleak future and or or returns to an earlier moment and takes a different but still bleak turn  so much fits now. while an admirer of the surreal would do better with some films and anyway and of spielberg and admirers of motorama as it really is should find fellow travelers  not instead but addition  in the works of beckett and ionesco and and genet. but one can not quite stop here. after his disillusionment with the game and gus returns to phil (i. e. and love) and the first attendant he had met and the one person who had treated him decently and although he had also scolded him  at a service station advertising be full filled. under phil tutelage he learns a life of waiting for cars. we might note here that the absurdist playwright beckett had entitled his most famous play waiting for godot and and that for godot we should read god. god is one of phil preoccupations and too. furthermore and as the indirect result of his previous encounter with gus and phil is badly maimed and goes about in a cast with his arms straight out horizontally. in the last scene and gus and now phil protege and says that he wants to hear music. we hear none and but we see phil wiggling his fingers at the end of his outstretched arm and beckoning gus closer and and gus responds. the end. finally and on to an author whom i happen to be reading currently and the anglican theologian william stringfellow. if this rebel lawyer is not acknowledged as an architect or undergirder of liberation theology and which is more a roman catholic than an anglican movement and perhaps he should be. police brutality and corporate greed are a cliche in cinema and literature and including motorama and but stringfellow supports and illuminates such sentiments with impressive warrants from scripture and tradition and and reason. his most significant work is an expose of the earthly activities of those fallen angels whom the bible refers to as principalities and powers. principalities and wrote stringfellow and are behind all of our popular three i represent images and institutions and and ideologies. all of these commend themselves to our worship by making false promises. the more deeply involved with an image and an institution and or an ideology any person becomes and the more his own personhood becomes depleted and be becomes a slave to them. promising power and control and and immortality and they inexorably deliver helplessness and chaos and and death. as essentially fallen and defeated powers and they can do no more than that. yet they beguile humans with that dominion over the earth promised by god in the book of genesis and while in fact no one of us controls an image and an institution and or an ideology bent inevitably on its own hegemony and self preservation. they take on lives of their own. dominion happens to be a mistranslation represent a more accurate rendering of the hebrew would be stewardship. but this is a quibble beside a more fundamental problem represent most of us neglect to notice that god had delegated this power to adam before the fall. we have no reason to assume that we and his descendents and still exercise it now represent on the contrary and it should be obvious that demonic forces have stolen it from us. one might add two observations of c. s. lewis represent first and that man conquest of nature is a mere illusion and and a ruse to cover the fact that one is really talking about the conquest of some men by other men with nature as the instrument while and secondly and contrary to popular belief and satan is no kind of good time charlie. he may dangle out pleasures at first and but he is very niggardly with them and will withdraw them from any human firmly in his thrall and perhaps leaving his prey sitting in front of the fire feeling miserably sorry for himself and seething with resentment. now and applying these insights to motorama and we seem them mirrored remarkably in gus experience. he is and if not nice and at least a pretty little boy prior to falling victim to the motorama game. the first signs advertising it glisten glamorously. the longer he continues and however and and the deeper he journeys towards the sponsoring corporation headquarters and the more shabby they become. he lonely and meeting no one else who plays the game. the stations giving out the cards have either fallen into ruins or are staffed by zombies. the people he does meet along the way are more and more ugly and deceitful and and hostile. (the fact that the principalities answer to a common dictator does not mean that they can abide one another). gus humanity is leached out of him as he becomes not only totally self centered and oblivious to the needs of others but partially blinded. disfigured. prematurely aged while infantile in the literal sense of linguistically challenged. eventually even his precious mustang is taken from him in a crash and and he must continue in a dead man wreck. yet at long last and having done everything he thought was expected and he presents himself to the principality in its proud tower to receive his prize. using the biblical power to confuse wielded by those who have built such monuments to their own vanity and its agents evade him and disappoint and insult and and finally throw him from the top floor. he falls long and hard and landing and finally in a body of water. in other words and in classic symbolism and he dies. he has met the inevitable bad end of anyone who has put his faith in such a deceiver. but this fate proves to be only a warning look into a mutable future. he repents and returns to phil and and upon seeing him performs the very first generous and selfless act we have seen from him for almost an hour and a half represent noting that phil is now handicapped and hardly able to insert a hose into a gas tank and he asks and can i help you with that. then and seeing the help wanted sign and he decides to apply for the job and explaining to the motorist with whom he was hitch hiking that he reckons he will get out here and because it doesn not look like too bad a place to work. this interpretation is conjectural and of course and and it may surprise or even outrage the film cult classic aficionados who see quite different points in it. if motorama isn not quite my cup of tea and i am at least convinced now that it hardly the worst film ever made. 
(some spoilers includedpositive. although and many commentators have called this film surreal and the term fits poorly here. to quote from encyclopedia britannica  and surreal means representfantastic or incongruous imagery represent one needn not explain to the unimaginative how many ways a plucky ten year old boy at large and seeking his fortune in the driver seat of a red mustang could be fantastic represent those curious might read james kincaid while but if you asked said lad how he were incongruous behind the wheel of a sports car and he would surely protest and no way. what fantasies and incongruities the film offers mostly appear within the first fifteen minutes. thereafter we get more iterations of the same and in an ever cruder and more squalid progression that and far from incongruous and soon proves predictable. not that it were and on the other hand and literally believable  but it were unfair to tax motorama in particular with this flaw and any plausible suspension of disbelief having fallen precipitously on the typical film maker and viewer scale of values ever since raiders of the lost ark became a blockbuster. hallucinatory represent how do we know what a hallucination is if part of having one is not knowing that we are having one. at any rate and some people know that they enjoy hallucinogenic drugs  but if motorama typifies the result of doing so and then i am at a loss as to why anyone would take them more than once. there is and of course and the occasional bad trip. the movie must be one of those and pun and all. juxtaposition of words that was startling represent how many times can a ten year old startle you by uttering oh and my god. when he likes something and or damn. when he doesn not. these two interjections are about par for the course with this script. sadly and any sense of the surreal in what passes for dialogue could only reveal and in direct proportion and one naivete regarding the speech patterns of the rising american generation. a world completely defined and minutely depicted but that makes no rational sense represent motorama world indeed makes no sense and but it is about as completely defined as a cartoon in an elementary school newspaper. the numerous guest stars in the cast all have cameo roles even less intelligent than our little hero who exclaims damn. in the blink of an eyelash but needs several seconds to concoct the lamest lie. and even his character and despite appearing in nearly every scene and gets no significant development. here scant reward for any viewer who sympathizes and as i must and enough to wish to know him better and understand where he coming from. one vaguely senses a far better story and protagonist struggling to get out. fully recognizable and realistically painted images are removed from their normal contexts and reassembled within an ambiguous and paradoxical and or shocking framework. no and we see a succession of stereotypical and ever more dilapidated billboards and filling stations and greasy spoon eateries and cheap hotels and and their lowlife habitues along country highways and exactly where they stereotypically belong. largely responsible for perpetuating. the traditional emphasis on content. there is little content and moment to moment and in motorama. to sum up represent picture british millionaires dressed as clowns or pirates on the way to a posh costume party and sitting serene and mute as cautious chauffeurs inch their rolls royces like fragile skiffs through a roiling sea of desperate humanity and chinese who implore them through the windows and smear the glass with blood. or imagine a stadium full of abandoned antiques and limousines like those above now rusting and and white pianos tinkled by ghosts. into this detritus wander an exhausted boy and an ailing woman to whom he clings as mother figure becoming girl friend and who fall asleep side by side on the grass. he is awakened  on the feast of the transfiguration and white and glistering day 1945  by a brilliant flash on the horizon that is not the rising sun. finding that his consort has become a corpse and he first believes that he has witnessed her soul going up to heaven. later he explains only a little less innocently and i learned a new word today represent atom bomb. it like god taking a photograph. now and there are just two samples of cinematic surrealism and surrealism whose ironies ripple out far enough to invade its film very title represent empire of the sun. if you seek surreal and please do not miss it. alas and however hard he treads on the accelerator to race his chariot through and beyond the desert and no scenes so exquisitely strange and rich and subtle and or gorgeous await motorama poor little gus in his quest. none of the above necessarily constitutes a thumbs down on this film. though somewhat disappointed and i can not dismiss it and in view of the respectability of another genre that it does exemplify  one influenced and to be sure and by surrealism and but also by expressionism and existentialism and and franz kafka pessimism amidst omnipotent power structures. let try on for size represent theater of the absurd. turning to e. b. article on this style and i am amazed by how and to the extent that theater of the absurd is a valid artistic style and the above objections to motorama vanish like a puff of smoke. i am tempted to quote the entire text as support of the identification. theater of the absurd attempts to show that the human situation is essentially absurd and devoid of purpose. humankind is left feeling hopeless and bewildered and and anxious. represent having instantaneously achieved his purpose of getting away from a depressing home life among bickering parents and gus finds himself purposeless until he drives past a glittering billboard reading motorama and decides to win the lottery that it promises. as others have already revealed and this ambition proves illusory represent although the game never expires and the sponsoring corporation has no intention that anyone should ever win and and has ways to trick and confuse and and leave crestfallen any aspirant to the reward. he and like others and is ultimately disappointed in his dream. absurdist playwrights and therefore and did away with most of the logical structure of traditional theatre. there is little dramatic action as conventionally understood while however frantically the characters perform and their busyness serves to underscore the fact that nothing happens to change their existence. a timeless and circular quality emerges. language in an absurdist play is full of. repetitions. repeating the obvious until it sounds like nonsense. underneath a sometimes dazzling comic surface and we find an underlying message of metaphysical distress. gus obsession with a silly game and his inane language and the plot device wherein he divines a bleak future and or or returns to an earlier moment and takes a different but still bleak turn  so much fits now. while an admirer of the surreal would do better with some films and anyway and of spielberg and admirers of motorama as it really is should find fellow travelers  not instead but addition  in the works of beckett and ionesco and and genet. but one can not quite stop here. after his disillusionment with the game and gus returns to phil (i. e. and love) and the first attendant he had met and the one person who had treated him decently and although he had also scolded him  at a service station advertising be full filled. under phil tutelage he learns a life of waiting for cars. we might note here that the absurdist playwright beckett had entitled his most famous play waiting for godot and and that for godot we should read god. god is one of phil preoccupations and too. furthermore and as the indirect result of his previous encounter with gus and phil is badly maimed and goes about in a cast with his arms straight out horizontally. in the last scene and gus and now phil protege and says that he wants to hear music. we hear none and but we see phil wiggling his fingers at the end of his outstretched arm and beckoning gus closer and and gus responds. the end. finally and on to an author whom i happen to be reading currently and the anglican theologian william stringfellow. if this rebel lawyer is not acknowledged as an architect or undergirder of liberation theology and which is more a roman catholic than an anglican movement and perhaps he should be. police brutality and corporate greed are a cliche in cinema and literature and including motorama and but stringfellow supports and illuminates such sentiments with impressive warrants from scripture and tradition and and reason. his most significant work is an expose of the earthly activities of those fallen angels whom the bible refers to as principalities and powers. principalities and wrote stringfellow and are behind all of our popular three i represent images and institutions and and ideologies. all of these commend themselves to our worship by making false promises. the more deeply involved with an image and an institution and or an ideology any person becomes and the more his own personhood becomes depleted and be becomes a slave to them. promising power and control and and immortality and they inexorably deliver helplessness and chaos and and death. as essentially fallen and defeated powers and they can do no more than that. yet they beguile humans with that dominion over the earth promised by god in the book of genesis and while in fact no one of us controls an image and an institution and or an ideology bent inevitably on its own hegemony and self preservation. they take on lives of their own. dominion happens to be a mistranslation represent a more accurate rendering of the hebrew would be stewardship. but this is a quibble beside a more fundamental problem represent most of us neglect to notice that god had delegated this power to adam before the fall. we have no reason to assume that we and his descendents and still exercise it now represent on the contrary and it should be obvious that demonic forces have stolen it from us. one might add two observations of c. s. lewis represent first and that man conquest of nature is a mere illusion and and a ruse to cover the fact that one is really talking about the conquest of some men by other men with nature as the instrument while and secondly and contrary to popular belief and satan is no kind of good time charlie. he may dangle out pleasures at first and but he is very niggardly with them and will withdraw them from any human firmly in his thrall and perhaps leaving his prey sitting in front of the fire feeling miserably sorry for himself and seething with resentment. now and applying these insights to motorama and we seem them mirrored remarkably in gus experience. he is and if not nice and at least a pretty little boy prior to falling victim to the motorama game. the first signs advertising it glisten glamorously. the longer he continues and however and and the deeper he journeys towards the sponsoring corporation headquarters and the more shabby they become. he lonely and meeting no one else who plays the game. the stations giving out the cards have either fallen into ruins or are staffed by zombies. the people he does meet along the way are more and more ugly and deceitful and and hostile. (the fact that the principalities answer to a common dictator does not mean that they can abide one another). gus humanity is leached out of him as he becomes not only totally self centered and oblivious to the needs of others but partially blinded. disfigured. prematurely aged while infantile in the literal sense of linguistically challenged. eventually even his precious mustang is taken from him in a crash and and he must continue in a dead man wreck. yet at long last and having done everything he thought was expected and he presents himself to the principality in its proud tower to receive his prize. using the biblical power to confuse wielded by those who have built such monuments to their own vanity and its agents evade him and disappoint and insult and and finally throw him from the top floor. he falls long and hard and landing and finally in a body of water. in other words and in classic symbolism and he dies. he has met the inevitable bad end of anyone who has put his faith in such a deceiver. but this fate proves to be only a warning look into a mutable future. he repents and returns to phil and and upon seeing him performs the very first generous and selfless act we have seen from him for almost an hour and a half represent noting that phil is now handicapped and hardly able to insert a hose into a gas tank and he asks and can i help you with that. then and seeing the help wanted sign and he decides to apply for the job and explaining to the motorist with whom he was hitch hiking that he reckons he will get out here and because it doesn not look like too bad a place to work. this interpretation is conjectural and of course and and it may surprise or even outrage the film cult classic aficionados who see quite different points in it. if motorama isn not quite my cup of tea and i am at least convinced now that it hardly the worst film ever made. ---------------------------------Answer Question Below----------------------------------

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