Like Brando in that movie, Dafoe's Vance is clearly the leader of the pack and, again like Brando, he catches the eye of the antsy teen daughter (Marin Kanter) of a local bigwig (J. Its plot, about a group of northern greasers pit-stopped in a small Georgia town on the way to Daytona, is a rehash of The Wild One (1953). The Loveless is most definitely a neo-biker movie, not a biker movie. The latter yielded Dafoe, who came out of the Wooster Group experimental theater company. Like other budding New York indie directors, including Jim Jarmusch and Susan Seidelman, Bigelow and Montgomery were trying to grab some of the attitude of the post-punk music scene and the downtown Manhattan art scene in The Loveless. First came The Loveless, the little-seen 1982 neo-biker movie she co-wrote and co-directed with Monty Montgomery, which gave Willem Dafoe his first starring film role. But it wasn't the first time Bigelow built a movie around such a group of rebels. A band of outsiders were the heroes of Kathryn Bigelow's contemporary vampire classic, Near Dark (1987).
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