ABSTRACT
Planes, Trains and Automobiles, Midnight Run, and Rain Man, despite using the sudden loss of money on the road as a principal move to critique yuppie values, eventually recuperate any repudiation of the value of capital. The hegemonic masculinity already undermined by the homoerotic pressures of road intimacy and the buddy plot requires the remasculinizing effect of financial solvency. The films’ recuperative strategies pivot on collapsing the apparent distinctions between the road man, the high flyer, and the neurotic. The initial impression that the three figures represent discrete relations to capital and very different types of masculinity is dispelled by the film’s conclusion.
