Throughout his extensive career of long-form journalism, novels, and memorable television interviews,Dr. Hunter S. Thompson’s words have spread across generations, inspiring writers and activists alike totrulythink outside the box and fight for their beliefs. There have been very few filmmakers that have taken a stab at the eccentric journalist’s escapades, but those who have followed one common theme. Rather than highlighting the writer’s literary prowess and lifetime achievements in the field, they ultimately chose to place focus on Thompson’s drug-riddled persona, Raoul Duke.
Fear and Loathing in Aspen
These projects lacked the substance of Thompson’s articles that made him such a prominent figure in the Gonzo Journalism movement. Aside from the few amusing anecdotes lifted from his work and sprinkled throughout the films, these depictions showcased Thompson as a bumbling, intoxicated fool, and if you didn’t know the source material beforehand, you more than likely wouldn’t feel compelled to seek them out.Fear and Loathing in Aspenwriter and director Bobby Kennedy III saw the man behind the yellow-tinted shooting glasses, and actor Jay Bulger portrayed him to a tee.
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The Battle of Aspen
Fear and Loathing in Aspenadapts Hunter S. Thompson’s first venture with Rolling Stone Magazine, entitled “The Battle of Aspen.” Initially printed in the 67th issue of the publication in October 1970, this pivotal piece laid out Thompson’s disdain for the corrupt politicians ruling Pitkin County with an iron fist. Fed up with the unfair treatment of the hippies residing in the small Aspen town and oil runoff from a corporate mining company into the local reservoir, Thompson takes the upcoming campaign for the town’s Sheriff as an opportunity to raise awareness of those being prosecuted in a complete political overhaul.
Though Thompson’s efforts were ultimately unsuccessful due to his radical propositions, pre-established public persona, and lack of legal credentials, his campaign was notable for exploiting a glaring loophole in the Colorado voting laws. The massive influx of drifters making their way to Pitkin County during that time had the right to vote in the upcoming election, provided they had been residents of the town for over 30 days. Despite his almost inevitable loss to attorney Joe Edwards, Thompson’s ability to encourage those on the outskirts of traditional society to participate in local government is commendable, to say the least.
Rounding Up the Freaks
Adapting the work of Hunter S. Thompson has eluded filmmakers since the late ’70s. Many big names have been tossed around for potential actors that could portray Thompson, long before Bill Murray or Johnny Depp got the chance to do so. Bobby Kennedy III’sFear and Loathing in Aspensets itself apart from its predecessors by having Jay Bulger (a relatively unknown filmmaker turned actor) as the project’s lead. Though performing is not necessarily Bulger’s industry focus, his chameleon-like depiction of the eclectic writer proved to be one of the strongest aspects of the film.
Without a substantial budget to work with, Kennedy was forced to call upon friends and family during the casting process. Fortunately for Kennedy, however, he comes from a well-connected family. Cheryl Hines (Kennedy’s stepmother) ofCurb Your Enthusiasmfame makes an appearance as Eve Homeyer, the first female mayor of Aspen, serving asFear and Loathing’s top billing. Kennedy’s wife and former CIA officer, Amaryllis Fox, also played a crucial role in the project as Aspen Times journalist Peggy Clifford. A former writer in her own right, Fox portrayed the role of this fearless female voice flawlessly, serving as a great balance between Thompson’s intoxicated antics throughout the film.
Plans to Debut at SXSW
Casting was not the only cause for distress during the production ofFear and Loathing in Aspen. Hunter S. Thompson’s cult-like following, while dedicated, wasn’t substantial enough to receive too much backing from studio executives. Throughout a series of title alterations, budgetary restraints, and the ongoing pandemic, it was unclear whether this passion project would get a proper theatrical release or simply fall by the wayside.
Fear and Loathing in Aspen(then entitledFreak Power) was slated to premiere at SXSW Film Festival in March 2020 before Covid reared its ugly head. As a result, the annual event was canceled, and distribution rights for the project were in limbo. Shout! Studios later acquired the rights to the film, seemingly saving it from eventual obscurity. Without a proper theatrical run or physical media release,Fear and Loathingwas still unable to get the mainstream recognition it deserved from the get-go, and has since only been made available to the public via various on-demand services.
Hunter S. Thompson’s Legacy
Despite his best efforts, Hunter S. Thompson was not able to overthrow the local government he was so outspoken against. While his trials and tribulations were documented in the pages of Rolling Stone Magazine to some acclaim, Thompson’s radical vision of a perfect society proved to be more of a crutch than an asset in his run for Pitkin County Sheriff. Rather than letting the loss affect his subsequent endeavors, Thompson continued to establish himself as one of the pivotal voices of the Gonzo Journalism movement.
That following year, Thompson’s career-defining Fear and Loathing in Las Vegas made its way to readers in the form of a two-part story in Rolling Stone before being released as a standalone novella shortly thereafter. This twisted depiction of the so-called American dream implemented Thompson’s affinity for literature through descriptive language and exaggerated premises that only the most brilliant (and demented) mind could produce. Hunter S. Thompson was, without anyshredof a doubt, an instrumental political voice of the 1970s, andFear and Loathing in Aspenshowcases this better than any previous iterations of his work ever had before.
