While there’s considerable overlap, principal differences between “Decade” and “Easy Riders” is the latter’s more detailed focus on industry background, and more upfront treatment of drugs and personal behavior problems. Cut-off point in Bowser’s film is slightly later, however, ending on Martin Scorsese’s “Raging Bull,” which it calls the period’s “the last primal scream of defiance.” Adding a different take, “Nashville” scripter Joan Tewkesbury also attributes the death knell of ’70s Hollywood to the advent of “Entertainment Tonight” and mass-media attention to box office scores. The arc covered is more or less identical, starting from the late ’60s, when the studio moguls had become obsolete and expensive Hollywood pics were being snubbed by audiences, and closing on the arrival of the blockbuster and the end of the director’s era. A companion piece to Sundance docu-competition entry “A Decade Under the Influence,” “Easy Riders” differs from the Ted Demme/Richard LaGravenese-directed study by breaking down the subject into individual episodes rather than focusing on the critical overview. That version reportedly features an expanded account of the off-screen soap opera starring director Peter Bogdanovich, then-wife Polly Platt and girlfriend-discovery Cybill Shepherd on the set of “The Last Picture Show,” as well as a greater discussion of the contributions of film critics Pauline Kael and Andrew Sarris.

Premiered as the opener of Slamdance in the two-hour BBC version, the docu will be seen by U.S.

Easy riders raging bulls review