Plot
The plot involves a gang of Hells Angels type bikers called "The Devil's Advocates" involved in the Vietnam war. They are sent to the Cambodian jungle on Yamaha bikes in order to rescue an American diplomat/CIA Agent (Starrett).
The biker gang is led by Link (William Smith), a Vietnam veteran and the brother of an Army Major (Dan Kemp) who has recruited them. His gang consists of Duke (Adam Roarke) also a Vietnam veteran, Limpy (Paul Koslo), Speed (Eugene Cornelius), and another Vietnam veteran Dirty Denny (Houston Savage who was killed in a road accident not long after completing the film). They are under the orders of Army Captain Jackson (Bernie Hamilton).
The gang modifies their motorcycles in a garage run by Vic Diaz. They weld armour plating with submachine guns on the handlebars. Limpy drives a three-wheeler modified from a Harley-Davidson frame with a Volkswagen rear end that is armed with heavy .50 calibre machine guns and a multiple rocket launcher from a helicopter. In order to open fire on enemy soldiers in trees or towers the gang do wheelies whilst firing their weapons.
Read more about this topic: Nam's Angels
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)