I saw this movie when I was around 12 years old in Tokyo. I went to the theater by myself fully aware of its adult theme. Back then there were no rating system for the movies. It was either a full on porn or a regular movie. This was classified as a regular movie. The movie's title was in Japanese and was called "Into his chest once more" or "Ano mune ni mouichido".I understood the actresses' name was Marianne Faithful. The last name Faithful caught my attention. I knew another Faithful from a song I liked called "As tears go by". Later I made the connection that they were one and the same person. I only heard the song on a radio, so I didn't know what she looked like. Those were the days before music videos.This was also the first movie I've seen of Alain Delon. He was different from my idea of a heart throb. I've seen better looking men like Van Williams from the Green Hornet, and Troy Donahue in Surfside 6. When I saw the movie, I thought Marianne Faithful was pretty, but not gorgeous like many of the American actresses. My ideal at the time was Jane Fonda. So you can tell that my preference were more towards American actors. She was my first exposure to European actor (or from that area more or less).The movie was my first exposure to Harley Davidson. The bike was a monster. But I didn't make the connection that the police bikes in American movies were all Harleys. I was still a kid back then. I thought the helmet she wore was weird.I understood that the movie's theme was about a woman that had a husband who lacked masculinity, and she found sexual attraction in Daniel (Alain Delon). He had the same feelings for her. So she rides her bike to go and see him.The movie was beyond me at the time. I felt that I finally bit off more than I can chew. I thought the ending was crap, and the movie was meaningless. I didn't understand what the point of the movie was. It wasn't such a good movie for me. Back then my taste was very American. This movie didn't have the glamor that I liked.Now 44 years later how do I feel ? I'm glad to say that whatever I thought wasn't so cool about the movie back then still holds, and the things that I thought were superb about the movie still holds. So even through all the experience, and education I had over the years, my eyes were correct when I was 12 years old. It's the only movie that features Marianne Faithful, and that's significant. I felt that Marianne Faithful herself was uncomfortable with her own beauty and sex symbol status. She became herself when she gained weight, and more comfortable about herself as well. When I see this movie now, I can see what a good looking lady she was. It's an important film in some way. It was important to me back then, and I'm glad that it's still a cool movie not by its story, but in an artsy way. I'm also glad that I saw it in all its glory at the age that I saw it at. I did the perfect thing.I'm really glad that I went to see this movie in my formative years. You know, you should ignore what the adults say about what you shouldn't do, and follow your heart. Your heart instinctively know what's important for you.It's a daringly cool one of a kind movie, and I'm rather proud that I had enough wit to understand its value at the age of 12.

Oh yeah, baby! Now this film may not be good in a conventional sense of the word, but man is it one hopelessly dated, yet charming and unintentionally amusing slice of swingin' 60's camp silliness. Rock singer/songwriter, former smack addict, and onetime Mick Jagger main squeeze Marianne Faithful portrays Rebecca, a bored housewife who bails on her drab, stuffed shirt hubby, dons a spectacular skintight leather jumpsuit, hops on a shiny, powerful custom chopper, and drives halfway across Europe to reunite herself with her absolute to die for stud muffin college professor lover Daniel (the ever-cool Alain Delon). This marvelously messed-up and ridiculous misfire boasts clumsy direction by Jack Cardiff (who also did the often stunning garish cinematography), a groovy score by Les Reed, the gorgeous Marianne looking positively smashing both in and out of her clothes, plenty of funky oh-so-60's psychedelic visuals (I especially loved the brilliant ruddy whirlpool with the silhouetted seagulls flying around it), a startling bummer of a surprise downbeat ending, and, best of all, Marianne articulating via voice-over all these incredibly dippy heavy sentiments on such worldly topics as war, tying the knot ("Marriage is a little death"), love, obsession, and, naturally, the galvanizing, liberating feel of a mean machine throbbin' between your legs (shout it with me everyone: "My black motorcycle devil makes love beautifully!"). Like, biker zen, dude.

for a Rocky Horror-style spiel or an MST3K setup. Just hum the Batman theme every time it goes to a cheesy headon driving shot, go heavy on the blind guy jokes when Raymond's driving in shades, slather on the sadomasochism references, keep your kraut/frog jokes handy, and dump as many putdowns of the style on it as you can, focusing on the 2001-ripoff psychedelic bits, the pitch black midnight chalet sex scene, and whatever really annoys you in particular about this flick. Give a loud cheer at the ending. Be thankful that it's only 90 minutes. Hopefully, you'll be able to catch this on a movie channel or some midnight screening, and won't have to pay more than 5 bucks up front for the chance to go from anticipation to "WTF is this dreck?" to gleeful outright mockery. And since you've read this, you can skip the first two and go straight to the right way to approach it.

I can't get enough psychedelic silliness, and the DVD revolution has given new life to several 60s/70s gems. First 'Ciao Manhattan' with commentary, now 'Girl On A Motorcycle', also with commentary (by veteran cinematographer Jack Cardiff, who directed). Most people who have seen this movie don't seem to rate it very highly, but I thoroughly enjoyed it. Marianne Faithfull looks absolutely beautiful, and watching her race across Europe in a leather jumpsuit is my idea of a good time! Faithfull's acting talent is difficult to gauge. She spends so much time "emoting" over the endless voice overs that her expressions sometimes border on the absurd. There are quite a few unintentional laughs just looking at her face, and there are some naff lines in the script that will provoke smirks. That added to the impressive photography, a couple of solarized freak outs, some swingin' soundtrack music, and super cool Alain Delon ('Le Samourai') makes this lots of psychedelic fun! It would make a great double bill with Roger Corman's exploitation classic 'The Trip'.