Category Archives: 70’s Movies

The Lord’s of Flatbush (1974)

lords of flatbush 2

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Sly and the Fonz.

Butchey (Henry Winkler) forms a leather jacket gang with his friends at a Brooklyn city high school during the 1950’s. The group is made up of Stanley (Sylvester Stallone) who is forced to marry his girlfriend when he gets her pregnant and Chico (Perry King) who romances the pretty new girl in school named Jane (Susan Blakely). As they grow into adulthood they find themselves drifting apart as new interests and demands begin to appear.

This film can best be described as a B-version of American Graffiti that came out just a year earlier. The production values are shoddy with a grainy picture that looks like it was filmed on somebody’s home camera. The story works in fragmented style that comes off more like a series of vignettes than an actual plot. Chico’s romance with Jane happens too quickly and seems artificial from the start especially since they are from ‘opposite sides of the tracks’. The actors themselves are clearly well over 18 and in Stallone’s case almost pushing 30 making their presence and the overall 50’s feel seem unauthentic.

The one thing that saves it is that there are some funny scenes as well as moments of decent drama and character development. The part where Stallone barters with a jeweler over the price of the wedding ring is quite good. I also liked the scene where the boys get together to intimidate a guy who is dating Chico’s girl only to run in fright when the other guy brings in a team of football players to defend him. However, the opening bit dealing with the teens misbehaving in class is not funny at all and I ended up feeling sorry for the teacher who was only trying to do her job.

Although given top billing Winkler is underused and almost forgettable. King is the real star and does quite well while also creating a multi-dimensional character. Stallone steals every scene he is in and proves to be much more adept at comedy than you might think. You can also glimpse Ray Sharkey, Armand Assante and Brooke Adams as wedding guests.

The film also features model-turned-actress Susan Blakely in only her third feature who does well playing the ‘good girl’, but the scene where Chico pressures her into having sex and she resists while asking him what color her eyes are in an attempt to see if he really ‘knows’ her and not just using her makes no sense. For one thing her big, blue eyes are the most prominent part of her face. Anyone, even a stranger, who glances at her face for even a second would know the color of her eyes, and thus having her ask someone what color they are is ridiculous already and then having them unable to tell her makes it the dumbest part of the whole movie.

susan blakely

My Rating: 6 out of 10

Released: May 1, 1974

Runtime: 1Hour 26Minutes

Rated PG

Director: Martin Davidson and Stephan Verona

Studio: Columbia Pictures

Available: VHS, DVD, Amazon Instant Video

The Revolutionary (1970)

the revolutionary 2

By Richard Winters

My Rating: 6 out of 10

4-Word Review: He fights against capitalism.

Jon Voight plays a college student involved in a student protest group called The Radical Committee. They push for social change particularly with a more communist/socialist style of government, which he becomes fonder of after working with Despard (Robert Duvall) a nearby factory worker who’s trying to start a union up at his plant. After being suspended from the school for his radical views he becomes frustrated at seeing how his work and actions seem to have very little influence or effect. He then meets up with Leonard (Seymour Cassel) who is a more seasoned radical and not shy about using violent or unethical methods to make his point and pressures Voight to start doing the same.

On the whole despite its slow pace this is a slickly produced intriguing character study. I enjoyed the grainy pictures of the 1917 Bolshevik Revolution shown over the opening credits, but I didn’t like the film’s choice of on-location shooting. Supposedly it takes place in a small American city, but it doesn’t resemble one since it was filmed in London, which gives everything from the old buildings to roadways and sidewalks a European look that you never see in any American town or city. There is also no explanation initially about what the students are protesting against or why they are at odds with the school, which makes the storyline seem generic and hard to get into at first.

I loved Voight’s character as it is similar to his Joe Buck one in Midnight Cowboy with all of the social awkwardness, but fortunately he is not as painfully dumb. It is interesting to see how such a highly intellectual man with strong opinions and ideals can still at times be quite timid. I was looking forward to seeing the character go through a transition and was disappointed that it took so long to get there.  To me the ending should’ve been the beginning and the fact that it isn’t hurts the film’s overall impact. I was also confused as to why the Jennifer Salt character, who plays a young lady from an affluent family, would find Voight so appealing, or why she wanted to continue to go out with him, which to me demanded more of an explanation.

The scene in which a mob gets attacked by some riot police is photographed in a way that makes it intense and startling and could’ve been extended even more. The ending is nerve wracking and great example of how complete silence without any music can sometimes create far more tension. Unfortunately the ambiguous resolution is a disappointment and after such a long and deliberately slow build-up comes off almost like a cop-out.

My Rating: 6 out of 10

Released: July 15, 1970

Runtime: 1Hour 40Minutes

Rated R

Director: Paul Williams

Studio: United Artists

Available: DVD (MGM Limited Edition Collection), Amazon Instant Video

Such Good Friends (1971)

such good friends 1

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Her husband fools around.

Julie (Dyan Cannon) is a well-off New York Housewife living in a swanky Manhattan apartment with her husband Richard (Laurence Luckinbill) who is the successful editor of a New York fashion magazine. Her life seems fulfilled and happy until Richard goes into the hospital for routine surgery, which has unexpected complications that sends him into a coma. While going through some of his personal belongings she comes upon his little black book that lists all sorts of sexual conquests he has had with her friends, which first leads the devastated Julie into considering suicide, but then ultimately into revenge.

This film can be considered Otto Preminger’s swan song as the two movies he made after this weren’t worth watching. This movie also proves to be a giant improvement from the awful Skidoo that he did just three years before where he tried unsuccessfully to get with the ‘hip generation’, but failed miserably. It has the same irreverence and satire as that one, but it is much more disciplined and sophisticated and makes its point without going overboard. It also shows that despite his renowned cantankerous nature behind-the-scenes he was still a gifted director who managed to span five decades with movies that had vastly different styles and themes and he deserves to be labeled a filmmaking legend.

I loved the way the camera spins around in a circle during a scene inside a New York art museum as well as some breathtaking shots of the New York skyline while on top of Jennifer’s and Richard’s condominium. The fractured narrative that deals heavily with flashback sequences is also nicely handled though the scenes showing a middle-aged Cannon trying to look like she is an adolescent while wearing pigtails looks tacky and should’ve been scrapped.

The film is based on the Lois Gould novel of the same name and while that book had a much more serious tone the movie gives the material more of a satirical spin much like Diary of a Mad Housewife, which Preminger had scriptwriter Elaine May (who gets credited as Ester Dale) watch before writing this one. The result is endlessly witty dialogue and some near brilliant conversational exchanges between the characters. Some of the best bits are Jennifer’s discussions with Richard’s doctors who seem reluctant to take responsibility for their medical blundering as well as Jennifer’s awkward sexual encounter with her friend Cal (Ken Howard) when he is unable to ‘rise to the occasion’.

Although she has a face that can show pain and sadness well Cannon may not have been the best choice and some other actresses would’ve been more interesting in the part. Apparently Preminger had her in tears already on the first day and she has in subsequent interviews called him a ‘horrible man’. The scene showing her naked in a snapshot is actually that of another nude model with Cannon’s face cropped on it.

James Coco is great in support and I was genuinely shocked that it didn’t get him nominated for best supporting actor. The scene where Cannon is undressing him for some sex and he tries desperately to distract her while he takes off a corset that he is wearing underneath is frickin’ hilarious. Burgess Meredith has an outrageous moment where he is seen nude while attending a posh party and only his genitals are covered by a book hung from a belt that he is wearing.

The only real negative is the ending that is too serious and somber and deflates the energy from the film’s otherwise snarky tone. Some of the music used doesn’t work with the scenes either including the O.C. Smith song played over the closing credits. Otherwise it’s as fresh, original and timely as it was when it first came out and ripe to be rediscovered by the right audience. The title sequence created by Saul Bass that is used to open the film is diverting and I wished it had been extended.

My Rating: 8 out of 10

Released: December 16, 1971

Runtime: 1Hour 42Minutes

Rated R

Director: Otto Preminger

Studio: Paramount

Available: DVD, Blu-ray, Amazon Instant Video

Mr. Sycamore (1975)

mr sycamore 1

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Mailman becomes a tree.

Bored with his job as a mailman and unhappy in his marriage John Gwilt (Jason Robards) decides one day to turn himself into an oak tree. He digs a hole in his backyard and ‘plants’ himself into it where he stands there day and night waiting to become a tree while his wife Jane (Sandy Dennis) tries desperately to talk him out of it, his neighbor Fred (Robert Easton) laughs at him and his minister (Mark Miller) tries to have him committed.

The film, which is based on a 1942 Broadway play, has a certain whimsical tone to it that might be pleasing to some if in the right mood and there is a certain strange intrigue at wondering just how this thing will end and whether he will eventually turn into a tree or not. However, the material would be better suited as a film short and the offbeat quality gets lost in a script that deals solely with a long parade of people who come into contact with John and their predictably shocked and confused responses when finding out what he is trying to do. The low budget is also an issue and outside of showing the inner-workings of a mail processing machine at the beginning there is no visual style at all.

Robards is a natural for the part, but he had already played a nonconformist looking to drop out of society earlier in the film and stage play A Thousand Clowns making his appearance here seem almost like typecasting. Jean Simmons gets wasted in a small bit as John’s secret love interest. Dennis, who usually plays kooky characters, becomes the most rational one here, which ultimately is the film’s weirdest element.

This definite curio does have a few amusing moments, but it lacks a second act or interesting side story and eventually talks its strange concept to death until it becomes boring.

My Rating: 4 out of 10

Released: December 12, 1975

Runtime: 1Hour 28Minutes

Rated G

Director: Pancho Kohner

Studio: Film Ventures International

Available: VHS

The Laughing Policeman (1973)

the laughing policeman 1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: This policeman isn’t laughing.

8 passengers on a San Francisco bus are slaughtered to death by a mysterious gunman for no apparent reason. When Police Sargent Jake Martin (Walter Matthau) investigates he finds that his patrol partner is one of the victims. He soon learns that his partner was working on another case during his off hours dealing with a murdered prostitute that Jake had also worked on, but couldn’t crack. He begins to believe the two cases are somehow connected, but his brash department head (Anthony Zebe) doesn’t agree and thinks it is a waste of time to pursue the possible connection while also sticking him with Leo (Bruce Dern) a younger cop who doesn’t always like to play within the rules and whose manner and methods conflicts with Jake’s.

The film, which is based on the novel by Per Wahloo and Maj Sjowall who also did the book version for Man on the Roof, has a finely detailed gritty nature about it that looks at the methods of a police investigation in a realistic and unglamorous fashion, which significantly helps this one stand out from the usual cop dramas. I loved the way they searched for clues on the bus and the autopsies of the victims as well as pursuing leads that never pan out, which is a very common occurrence in most police investigations, but rarely is ever shown in movies. There is even a shot of a tow truck removing the disabled bus from the accident scene once the investigation is completed.

Although the novel’s setting was Stockholm the movie transplants the action to San Francisco making the Bay City almost like a third character. Director Stuart Rosenberg manages to nicely capture the eclectic vibe of the area and the disdain many people had for the police during that era. The movie also uses very little music, which is a major asset and helps accentuate the realism. Outside of the closing credits the only time there is really any other music is near the end when Jake and Leo start following a suspect, which comes off as jarring and should’ve been left out.

Matthau who’s mostly known for his comedic parts does well in an atypical role, which due to his casting and the film’s strange title may make some think it is a comedy though this is far from it. Dern is terrific in a role that takes full advantage of his edgy acting style and I liked how the two characters don’t get along at first, but eventually get past their differences and use each other’s unique strengths to their advantage. I was disappointed though that there is a side-story dealing with Jake’s tumultuous relationship with his teenage son that gets introduced early on, but then dropped and completely forgotten during the second half.

Louis Gossett Jr. gets a star making turn as a brash street cop and Zerbe is superb in support as the gruff police chief. Joanna Cassidy has a brief, but interesting bit as a witness and I liked the shot showing her and Dern sitting amidst a row of tables with table legs made to look like human ones. It’s also amusing to note that Albert Paulsen’s character who becomes the main suspect in the film never utters a single word of dialogue.

Spoiler Alert!

The film’s biggest downfall though is with its ending. It is very hard to believe that a character such as Paulsen’s that is portrayed as being rich and having a lot of connections would feel the need to shoot and kill the bus passengers himself as most if not all rich people simply hire someone else to their dirty work. I also didn’t think that someone who walks down the street surrounded by lawyers would crack as quickly as this one does when Matthau comes to question him about the case. A typical well-off businessman would simply ‘lawyer-up’ and trust that the minimum evidence that the police have would not hold up in court instead of jumping into his car and racing down the city streets in a panic such as he does here. The finale becomes too conveniently Hollywood-like and seems to sell out on the film’s original concept, which left this viewer with a flat and ambivalent feeling towards it when it was over.

the laughing policeman 2

End of Spoiler Alert!

My Rating: 7 out of 10

Released: December 20, 1973

Runtime: 1Hour 52Minutes

Rated R

Director: Stuart Rosenberg

Studio: 20th Century Fox

Available: DVD

Gentle Savage (1973)

gentle savage 2

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Indian accused of rape.

Camper John (William Smith) is an Indian living in a small town who gets accused of raping a white girl (Betty Ann Carr) by Ken (Kevin Hagen) her stepfather even though it was actually Ken who did it. The hidden prejudices of the predominantly white folks come to light against the nearby Indian community. Both sides take up arms and become intent on crushing the other causing hysteria and violent outbreaks while Camper John tries hiding out until it blows over.

If there is anything distinctive about this otherwise formulaic and predictable low budget drama is the fact that it paints vigilantism as more of a problem than a solution even if the one side feels completely justified, which I found to be a refreshing and more realistic take on the issue especially as the Indian group becomes as vindictive, violent and hateful as the people they are trying to fight. However, it would’ve been nice had there been at least one white person who wasn’t portrayed as being completely narrow-minded and bigoted, which in a lot of ways comes off as reverse racism by the filmmakers.

The music is loud and overly dramatic, which gives the proceedings a very heavy-handed feel. In a lot of ways it comes off as a poor man’s Billy Jack, which was already pretty amateurish and one-dimensional to begin with although still far better than this thing. The 75 minute version that I viewed had an abrupt ending that seemed incomplete and failed to tie up many loose ends, but I wasn’t complaining as even with the abbreviated runtime it was still highly protracted, overblown and tedious with the scene of a water tower tank exploding and dousing everyone on the street with tons of water being the only slightly diverting moment.

Smith is intense in the lead, but he should’ve been given more dialogue especially at the beginning as the viewer barely gets to know or understand him before being jettisoned into his quandary. Character actor R. G. Armstrong who normally plays menacing characters is quite wimpish here as a bartender who gets held down and forced to swallow drink after drink when he tries closing down the bar before the patrons were ready. Hagen is competent as the bad guy, but casting Gene Evans and Joe Flynn as a bumbling sheriff and deputy in an attempt at misguided ‘comic relief’ in the Last House on the Left-type vein was a big mistake. One scene even has them handcuffed together wearing nothing but their underpants while forced to walk across the desert, but it all adds little and takes away from the tension, which is the only time that this flat film ever becomes mildly diverting.

My Rating: 3 out of 10

Alternate Title: Camper John

Released: March 7, 1973

Runtime: 1Hour 25Minutes (Full Version)

Rated R

Director: Sean MacGregor

Studio: Cinemation Industries

Available: None at this time.

Heroes (1977)

heroes

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Adjusting to civilian life.

Jack (Henry Winkler) is a Vietnam Vet. still suffering from nightmares from his war time experiences. He has been in and out of the psyche ward at the veteran’s hospital, but has come up with an idea that he feels will makes both him and his buddies a lot of money. He wants to start a worm farm to be used as fisherman’s bait, but must board a bus to California to do. There he meets Carol (Sally Field) a woman who is engaged to be married and was a war protester during the 60’s. The two don’t get along at first, but eventually a relationship is made as she and his cousin Ken (Harrison Ford) help Jack fulfill his dream.

The movie is well filmed for the most part and even has a nicely shot and exciting foot chase down the busy streets of Manhattan, but the script by James Carabatsos, who was a Vietnam Vet. himself is too loosely structured and only glosses over the many issues that veterans face, which gives the whole thing a very shallow feeling. The only time we ever see any type of flashback’s to the experiences that Jack had while fighting in the war is at the end even though I felt the film would’ve been much stronger had this been shown throughout. The comical segments are misplaced and the story would’ve worked better had it just stuck to the drama.

The film also spends too much time with Jack and Carol’s budding romance, which for the most part comes off as forced. The cutesy ways that the two are shown constantly bumping into each other as their relationship ‘blossoms’ is contrived and having the two already as a boyfriend/girlfriend from the very start would’ve helped focus things more solely on Jack, which it doesn’t do enough of. I also felt that the segment where Carol pays for damages that Jack does at a café and then goes with him and his buddy Ken to an isolated location where she is promised to get paid back for it didn’t seem realistic. I realize this was the ‘70s where people were more relaxed about meeting strangers, but it still seemed dangerous and impractical for a lonely woman to be driving off with two men she had only met and were already acting peculiar to begin with.  A normal person would’ve simply sued him in small claims court to get back the money that they felt was owed.

Winkler does a terrific job in the lead and I felt it was a shame he hadn’t pursued his film career further instead of languishing away in television. Field is good as well as is Ford playing against type as a country hick. Character actor Stuart Margolin has a fun bit as a driver who picks the two up as they are hitchhiking and Val Avery is amusing as the bus driver who becomes increasingly annoyed at Jack’s antics.

The film has its share of pleasing moments, but on the whole it’s shallow and forgettable. There have been so many other better films on the subject that this one seems barley worth even mentioning.

My Rating: 4 out of 10

Released: November 4, 1977

Runtime: 1Hour 53Minutes

Rated PG

Director: Jeremy Kagan

Studio: Universal

Available: DVD, Amazon Instant Video

The One and Only (1978)

the one and only 1

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Struggling actor becomes wrestler.

Andy Schmidt (Henry Winkler) is a college student with a driving ambition of becoming a star. He is constantly doing things to be the center of attention including being a scene stealer in every stage play that he is in even if his role is minor. He meets and falls in love with Mary (Kim Darby) and the two move to New York, but find that life in the big city can be difficult especially when Andy is unable to secure any type of acting gig. Then by chance he meets Milton (Herve Villechaize) who is a dwarf wrestler that gets Andy connected to his promotor Milton (Gene Saks). Milton thinks Andy’s need for attention and flamboyance would be perfect for the theatrics of the wrestling world and although he is initially reluctant eventually starts to love it even when his wife hates it and threatens to leave him unless he quits.

Winkler’s performance is the film’s driving force and outside of his signature role as The Fonz this has to be his best work. I enjoyed the variety of characters that he plays in the ring, but the character himself tends to be quite obnoxious and borders on being a complete turn-off especially at the beginning. It is also hard to believe that anyone could fall in love with someone who is so extremely narcissistic and self-centered making the whole romance angle seem forced. The role also, during the scenes when he is in the ring and wearing very little, shows just how short and puny Winkler really is.

The script by Steve Gordon, who later went onto to pen and direct the Dudley Moore version of Arthur, seems reluctant to dive completely into the wrestling angle even though these scenes are by far the most interesting and funniest and when it gets away from the ring its predictable and contrived. I also couldn’t understand how they were able to maintain an apartment as small as it was when Andy was unable to get any type of job or income and the idea that they had unprotected sex and brought in an infant into the world when they could barely support themselves seemed utterly ludicrous. The film’s setting is during the 50’s, but it never comes full circle into the 70’s making it seem incomplete and the characters not as evolved as they could’ve been.

Darby does well in her part and works as a nice anchor to Winkler’s unbridled zaniness. I also really liked Polly Holliday best known for her role as Flo on the long running TV-series ‘Alice’ as Darby’s uptight mother who finally lets loose at the very end while watching Andy in a wrestling match. Saks has a lot of funny lines especially the running joke dealing with his ‘weird’ son, but his glasses that seem glued to his forehead eventually became annoying to look at.

On the negative side you also have rotund actor Richard Karron who’s excessively hairy, flabby physique, which gets shown in all of its unglorious splendor during one particular match may possibly be one of the grossest sights ever put on celluloid. The casting of the infant is another issue as when he is shown in the hospital he has a full head of blonde hair and then in all the subsequent scenes he has dark black hair.

My Rating: 4 out of 10

Released: February 3, 1978

Runtime: 1Hour 37Minutes

Rated PG

Director: Carl Reiner

Studio: Paramount

Available: DVD, Amazon Instant Video

The Getaway (1972)

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By Richard Winters

My Rating: 8 out of 10

4-Word Review: Bank robbery goes bad.

Based on pulp writer Jim Thompson’s novel the story centers on Doc McCoy (Steve McQueen) who is stuck in the Texas State Prison and itching to get out. He gets his wife Carol (Ali MacGraw) who is on the outside to strike a deal with Sheriff Jack Benyon (Ben Johnson) where he will get a release as long as he agrees to rob a bank using Benyon’s men. Doc is somewhat reluctant, but agrees to go along with it only to find that after the robbery he has been double-crossed and now along with his wife must make a dash for Mexico while being chased by the cops and going through a wide assortment of unexpected obstacles.

Action director guru Sam Peckinpah has done many classic films most notably The Wild Bunch and Straw Dogs, but this one has always been my favorite as it’s a nice mix of action, character study and comedy. In fact it’s the subtle humor that I like best. I get a kick out of the shot showing Benyon’s brother’s henchman riding in a convertible down a highway while having their hands on their cowboy hats in order to keep them from blowing off. I also chuckled at the book actor Dub Taylor has in his back pocket while cowering under a table during a shootout or what actor Al Lettieri immediately does after finding a dead man hanging in a bathroom.

Peckinpah also makes great use of sound particularly at the beginning where during the opening credits we hear no music, but instead the monotonous sounds of the machines inside the prison workshop, which helps convey Doc’s increasing frustration and this sound doesn’t stop until the exact second that the prison doors open up and allows him out. When there is music it’s effective and distinct particularly the harmonica solos by Toots Thielemans.

Of course Peckinpah’s trademark action sequences are excellent and maybe even superior to his other films because the situations are more unique including an exciting segment showing the couple trapped inside a garbage truck as well as an impromptu shootout along the main street of Fabens, Texas. The only complaint is the scene where Doc’s car goes crashing through someone’s front porch and yet the car shows no visible damage; one shot does show a crack in the corner of the windshield, but then in the next shot it has magically disappeared.

McQueen’s ability to show effortless cool and make an edgy character likable proves what a legendary actor he is and it’s a shame that he doesn’t get placed with the best of them amongst casual movie fans because he really should. MacGraw is at the peak of her beauty here and her moments of vulnerability are great. Struthers gives the best performance of her career as an unfaithful wife of a kindly veterinarian (Jack Dodson) and Lettieri, who unfortunately died at the young age of 47 just 3 years after this film’s release by a heart attack brought on by severe alcoholism, which was already painfully apparent to the cast and crew during the filming of this adds great tension as Doc’s double-crossing partner.

The film also makes great use of its Texas locations bringing out the ruggedness of the region without overdoing it. I particularly liked the scenes in the junkyard as well as footage shot on-location inside the Huntsville prison using actual prisoners and the longshot showing the flat, barren landscape that Doc first sees when he gets out.

I’ve watched this movie many times and never cease to grow tired of it. In fact it seems even more original after multiple viewings. It was unwisely remade in 1994 that starred Alec Baldwin, who doesn’t come close to McQueen’s stature. This version is by far the better one and the other should be avoided.

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My Rating: 8 out of 10

Released: December 13, 1972

Runtime: 2Hours 2Minutes

Rated PG

Director: Sam Peckinpah

Studio: National General Pictures

Available: VHS, DVD, Blu-ray, Amazon Instant Video, YouTube

Outlaw Blues (1977)

outlaw blues

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Singer on the run.

When country music giant Garland Dupree (James T. Callahan) visits a Texas prison in order to hold a Johnny Cash-like concert for the inmates he meets up with Bobby Ogden (Peter Fonda) a prisoner who while spending time in jail has written a song called ‘Outlaw Blues’. Garland likes the song so much that he decides to steal it and make it his own only to be confronted by Bobby who once out on parole will stop at nothing to get it back and expose Garland for the fraud he is. With the help of Tina (Susan Saint James) who acts as his manager he does just that, but finds himself again on the run from the cops after accidently shooting Garland during a confrontation inside a recording studio.

This film is notable for not only being filmed in Austin, Texas, but also being the first film to ever use Austin as a setting. The movie can be fun for people from the area especially those living in the city during the mid-‘70s. There are a lot of car chases that occur in the center of town making it entertaining to see all the old buildings some of which still stand today. The scene that takes place at what was then called Texas Memorial stadium during halftime of a Longhorn’s football game where Tina and Bobby take part as members of the marching band is pretty cool as is Tina’s serene houseboat that she lives in and has docked on the Colorado River.

Unfortunately the story itself evolves little and relies heavily on a lot of car chases and clichéd one-dimensional characters. Bobby’s hit song is too low key and melodic making it hard to imagine why so many people would get so crazy about it as a more up tempo country/rock sound would have worked better and given the soundtrack more of a kick.

The film also suffers from a few goofs and lapses of logic. The biggest one is when a lone cameraman films Bobby accidently shooting Garland and it gets replayed on the evening news. Yet when it gets shown it has several edits and footage of the incident from different viewpoints and angles, which if truly shot by just one camera wouldn’t have been possible. The idea of having Garland chasing Bobby down through the streets of Austin in broad daylight while shooting at him is utterly insane even for a deluded, egotistical character that he is as it would just get him thrown into jail. Since the Garland character is portrayed as having a lot of money then he should do what most rich people do when they want someone dead, which is hire someone else to do it while creatively covering up the paper trail.

Fonda too laid back in the lead and comes off as transparent and boring. Saint James, Callahan and John Crawford as an obsessed police chief lend some amusing support, but their presence as well as a nifty boat chase at the end cannot save a film that is otherwise generic and silly.

My Rating: 4 out of 10

Released: July 15, 1977

Runtime: 1Hour 40Minutes

Rated PG

Director: Richard T. Heffron

Studio: Warner Brothers

Available: VHS, DVD (Warner Archive)