Film Review: Father Stu (dir by Rosalind Ross)


I don’t care what all the other critics said when Father Stu was first released in April.  It’s not that bad.

Now, of course, I should be upfront and mention that I come from a Catholic background.  My father’s side of the family is Irish.  My mother’s side is Italian/Spanish.  Am I saying that you have to have been raised Catholic to appreciate Father Stu?  Not at all.  But it does help.

And when I say that Father Stu is not that bad, what I mean is that’s actually pretty good.

Based on a true story, Father Stu stars Mark Wahlberg as Stuart Long.  When the movie opens, Stu is in a boxing ring, beating up his opponents while taking a lot of punishment himself.  From that opening scene, we learn a few things about Stu.  He’s a fighter.  He’s determined.  He’s willing to take a beating.  And he really doesn’t know when to quit.  We then meet his no-nonsense mother, Kathleen (Jacki Weaver), and his father, Bill (Mel Gibson).  Bill is an alcoholic truck driver, the type who shouts at other drivers and who gets into an argument with a random child about who is the worse driver.

When Stu is informed that he could very well die if he continues to box, he decides that it’s time to pursue another profession.  The 30-something Stu announces to his mother that he’s going to be an actor.  He may not have any training but he has a lot of personality.  Stu’s mother suggests that it might be a little late in life for Stu to pursue a career as a film star but Stu packs up and leaves for Montana for California.

He does manage to land one gig, a commercial for a mop.  But Stu’s acting career never really takes off.  Instead, he gets a job working in a deli.  It’s there that he first spots Carmen (Teresa Ruiz), a Sunday school teacher.  When Carmen tells Stu that she wouldn’t even consider dating a man who was not baptized, Stu begins RCIA at the local parish.  Eventually, he’s baptized into the parish but it’s not until he’s nearly killed in a motorcycle accident and has a vision of Mary that he truly starts to believe.  He also comes to feel that he’s been called to the priesthood, despite the fact that it means ending his relationship with Carmen.  Stu enters the seminary, under the watchful eye of the initially skeptical but eventually supportive Monsignor Kelly (Malcolm McDowell).  However, Stu soon finds himself facing his greatest challenge when he’s diagnosed with inclusion body myositis, a disease that will eventually rob him of his ability to care for himself.

When Father Stu was first released in April, it received a lot of attention for being an R-rated film about faith.  But the fact that the characters frequently (and colorfully) curse is actually one of the best things about Father Stu.  People curse.  Both the religious and the non-religious curse.  Catholics especially curse.  When you find out that you have an incurable disease that’s going to kill you by the time you turn 50, you’re going to curse regardless of how much faith you may or may not have.  Far too many films about religion seem to take place in some strange world where the 50s never ended and people still say, “Darn,” when faced with the world’s problems.  To its credit, Father Stu‘s characters never lose their edge.

Father Stu also received a lot of negative attention for the involvement of Mel Gibson.  That’s understandable but, at the same time, there’s probably no contemporary actor who is more convincing as a self-destructive alcoholic than Mel Gibson.  For better or worse, Gibson brings a certain authenticity to the role and that authenticity is what a film like Father Stu needs.

In the lead role, Mark Wahlberg brings a lot of sincerity to the role of Stu.  When we’re first introduced to Stu, he’s earnest but he’s not particularly smart.  He doesn’t think things through.  He’s the type of guy who will work hard in his job without understanding that it’s still not a good idea to show up at work looking like you’ve spent the weekend fighting people in an alley for loose change.  As a result of Wahlberg’s performance, it’s easy to see why everyone in Stu’s life is skeptical when he announces that he’s going to become a priest.  However, it’s also due to his performance that Stu’s eventual transformation is undeniably moving.  Wahlberg’s rough-edged sincerity keeps the film from becoming overly mawkish after Stu discovers that he’s ill.  He remains a fighter from beginning to end and it’s hard not to want to see him win.

Father Stu is probably the epitome of the type of film that audiences love but critics hate.  But you know what?  Sometimes, the audiences are right and sometimes, critics try way too hard to be cynical.  Father Stu is a touching movie, one that serves as an antidote to the God’s Not Dead-style of movies about religion.  It’s a good movie that, like its protagonist, never stops fighting.

Moments #2: His Name Was Zac by Lisa Marie Bowman


His name was Zac and, for a few weeks during my freshman year of college, I thought that I might be very deeply in love with him.  He was a tall, muscular 23 year-old with thick blonde hair that fell clumsily down to his shoulders.  His face wasn’t really handsome.  The sight of his pink lips surrounded by his messy blonde beard always left me wanting to buy him a razor.  I often told myself that, whenever we had grown close enough, I would talk him into shaving his beard and revealing his true face, scars and all.  I assumed he had scars though, in retrospect, I guess the beard could have just been there to try to disguise the fact that he actually had the face of a 12 year-old.

Zac wasn’t handsome but that was his appeal.  I was 19.  I was away from home for the first time and I was desperately trying to not to let anyone see just how scary that was for me.  I’d already given the socially acceptable, alcoholic frat boys a try.  I’d had my flirtations with the painfully sensitive types who wore their hearts on their sleeves and cried whenever I said I didn’t see myself getting married before I was legally old enough to drink.  I’d had the fantasy men.  Now, I was ready for a real man and I was convinced that reality was hiding underneath Zac’s grotesque mask of a beard.

I sat directly behind him in Intro. To Creative Writing and the first day of class, I sat there and I stared at the blonde hair cascading down over his shoulders.  Over the winter break, I’d had a very brief fling with an aspiring screenwriter who, even at the age of 20, already had a bald spot.  It had reminded me of the importance of a thick head of hair and, if nothing else, Zac had that.

The first day of class, each student took a turn going up to the front of the room, sitting on top of the teacher’s desk, and telling the class who we were and what we hoped to express with our writing.  When Zac was had his turn, he told us that Jack Kerouac was a major influence on his life and that “No one is going to tell me how to write!”  His nostrils flared as he spoke.  When my name was called, I briefly stopped fantasizing about running my hands through the thick head of hair in front of me and I went up to the front of the room.  I hopped up on the desk and I immediately mentioned that my ancestors came from Ireland, Italy, and Spain.  No one appeared to be impressed by that unique combination.  I said that I was a city girl with a lot of country inside of me.  I paused and waited for a reaction that did not come.  In my usual rambling manner, I continued to go on about myself.  I was already feeling awkward and it didn’t help that it was obvious that, despite my best efforts to be cute in a flighty way, none of my fellow classmates were really listening to a word I had to say.  Some were talking amongst themselves, some were looking over the class syllabus, and a few were just staring blankly at the wall behind me.

No one was paying attention to me.  No one was looking at me as I spoke.

Except for Zac.  As I rambled through my introduction, Zac never stopped looking at me and soon, I felt as if I was talking to him and him only.  Of course, looking back, I also remember that I was wearing a short black skirt on that day and Zac wasn’t quite looking me in the eye.  In retrospect, it’s probably a lot more realistic to assume that Zac was more fascinated by the color of my panties than anything I had to say about myself.  If I remember correctly, they were hot pink.  I always made it a point to wear colorful underwear whenever I was otherwise dressed in all black.  It was my way of embracing the duality of nature.

But, on that day and at that moment, I wasn’t thinking about the duality of anything.  All that mattered was that he paid attention to me and after that one class period, I decided I was in love with him.

As the semester continued, I would look forward to every Tuesday and Thursday because I knew I’d get to sit behind Zac and stare at his lion’s mane of blonde hair.  Some days, he was very talkative in class as he would tell us why another student’s story was or wasn’t honest.  Other days, he would sit in a sullen silence and I would wonder what inner darkness he was wrestling with.  As the days passed, I wondered when he would finally read us something he had written.  What mysteries would be revealed when he finally opened his soul.

One day, he came into class, turned around in his chair to face me, and held up a thick bundle of papers.

“I wrote this last night,” he said.

“Are you going to read it?” I asked, trying to hide my near-giddy excitement.

“No,” he replied before suddenly ripping the pages in half, “a true artist has to be willing to destroy what he creates.”

I sat there, shocked.  I wondered if I would have the courage to be a true artist.  I wondered if Zac would ever trust me enough to let me know what he had just destroyed.  Yes, I decided, he would trust me.  If I had to, I would spend the rest of the semester earning that trust.

Unfortunately, at our next class, Zac did read us the story he had previously “destroyed.”  It was about an angry, rebellious, bearded 23 year-old who, one night, spotted a dead dog in the middle of the road and it caused him to reconsider everything that he felt he knew about his girlfriend, his friends, and the father who never understood why his son didn’t want to take over the family hardware store.  It was a long, angry narrative about crushed idealism, spiritual ennui, and lots of profanity.  The main character had a habit of responding to every comment with an angry one-liner and no one could ever refute his arguments, which I guess is the advantage of writing about yourself.  It included a lengthy sex scene between Zac’s doppelganger and a high school cheerleader who was secretly fed up with being popular and I had to swallow a giggle when Zach hit the line, “His hands found her breasts,” as if they had previously gone missing.  In short, it was really, really bad.

That was pretty much the end of things for me and Zac.  The beard, the intensity, the self-righteous anger; it was all kind of annoying without any talent to go with it.  Still, it was a good few weeks.

Zac read a few more stories over the course of that semester, all of which were about the same angry and profane 23 year-old who didn’t get along with his Dad and who spent his time “telling it like it is.”  Usually, I zoned out whenever he was reading.  Occasionally, he would still talk to me about his artistic insights and I would nod and smile without actually hearing what he was saying.  He mentioned Keroauc a lot but I couldn’t help but get the feeling that Zac would have been one of the fans that Keroauc complained about in Big Sur, always dropping by unannounced and demanding to know if Kerouac had written anything else about Dean and Sal.  About halfway through the semester, I think Zac finally figured out that I was bored with him because his stare became a bit less intense.  I caught him rolling his eyes once as I read a story about an angry 19 year-old who always knew the perfect thing to say and who spent a lot of time considering the duality of nature.  After the end of the semester, he disappeared from campus.  Whether he graduated or dropped out or transferred somewhere else, no one knew.  Actually, to be honest, no one cared.

I do sometimes wonder what happened to Zac.  Is he still writing or did he eventually take over the family hardware store?  And did he ever shave that ridiculous beard?

Previous Moments:

  1. My Dolphin by Case Wright

Live Tweet Alert: Join #FridayNightFlix for Uncommon Valor!


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, I will be hosting #FridayNightFlix!  The movie?  1983’s Uncommon Valor!

Gene Hackman, Patrick Swayze, Robert Stack, Tim Thomerson, Reb Brown, Randall “Tex” Cobb, and Fred Ward return to Vietnam to save the POWs who were left behind by the American government.  This action film features a once-in-a-lifetime cast and it even features a bit of dancing from both Tim Thomerson and Tex Cobb!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Uncommon Valor is available on Prime!

See you there!

4 Shots From 4 Films: Special Michael Powell Edition


4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.

Today, TSL celebrates the 117th anniversary of the birth of Michael Powell, the British visionary who changed the face of cinema, both on his own and through his collaboration with Emeric Pressburger.  It seems appropriate that we pay tribute to Powell on the day before October, as his 1960 film Peeping Tom is considered by many to be the first slasher film.  (It’s not but it’s influence on the genre cannot be overstated.)

In honor of Michael Powell, TSL is proud to present….

4 Shots From 4 Michael Powell Films

I Know Where I’m Going (1945, dir by Michael Powell and Emeric Pressburger, DP: Erwin Hillier)

Black Narcissus (1947, dir by Michael Powell and Emeric Pressburger, DP: Jack Cardiff)

The Red Shoes (1948, dir by Michael Powell and Emeric Pressburger, DP: Jack Cardiff)

Peeping Tom (1960, dir by Michael Powell, DP: Otto Heller)

Music Video of the Day: Seventeen by Winger (1988, directed by Mark Rezyka)


Tomorrow is the first day of October and traditionally, the first day of the horror season.  I am going to try to keep things centered on that theme as far as the site’s music videos of the day go.

For instance, what could be scarier than Kip Winger singing about banging groupies?  How about banging underage groupies?  Technically, as Kip always points out whenever anyone asks him about this song, seventeen is the age of consent in many states but the lyrics of Seventeen suggest that it might not have just been the law that was after Winger.  “Daddy says she’s too young, but she’s old enough for me,” Winger sings while grinning at the camera.

Let’s take a moment to remember Lars Ulrich throwing darts at a picture of Kip Winger.

God knows Metallica has done some embarrassing things but at least they’ve never turned into Winger.

In a 2014 interview with Songfacts, Kip said, “”Look, seventeen was legal in Colorado, so I didn’t even get the joke, dude. I didn’t get it. And then it hit and every seventeen-year-old girl in the United States thought that song was about her.”

Sure they did, Kip.

The video is made up of close-ups of the band playing (while being illuminated with purple light for some reason) and shots of the girl who is only seventeen but looks like she’s closer to 40.  Both the song and the video were a hit, procing that 1988 was a different time.  Just imagine the reaction if a band released that song today.

If the song did come out today, we all know who would be on twitter, defending Seventeen and saying that we just weren’t getting the joke.

As for the subject of the song, she is 53 now and probably tells everyone that Nirvana was the first band she ever loved.

 

Friend of the Family II a.k.a. Passionate Revenge (1996, directed by Fred Olen Ray)


Alex Madison (Paul Michael Robinson) goes to New Orleans on business and spots the beautiful and sexy Linda (Shauna O’Brien) having a fight with her boyfriend at a local bar.  Alex introduces himself to Lind and offers to pay for her dinner.  Later, directed Fred Olen Ray mixes shots of them making love with shots of Mardi Gras happening right outside the bedroom window.

Linda falls in love with Alex and becomes clingy but Alex has a wife and newborn at home.  When Alex leaves Linda (and breaks up with her via a note) and returns home, Linda is heartbroken.  When Linda’s ex finds out about the affair and shoots himself in the kitchen, Linda is outraged and decides to track Alex and his family down.  When Alex’s wife, Maddy (Jenna Bodnar), announces that she’s ready to go back to work and says that they will have to hire a nanny to look after the baby, Linda applies for the job.  Alex impresses Maddy by holding the baby and, more importantly, she doesn’t mention that she had a weekend affair with Maddy’s husband.  Alex comes home from work and is shocked to discover that Linda not only lives in his house but she’s also now best friends with his wife!  Linda is soon sexually blackmailing Alex while carrying on an affair with Linda’s horndog of a younger brother, Byron (Sid Farley).  Linda wants revenge against all of them.

This is a pretty typical example of the type of films that Cinemax used to air once the sun went down.  (There’s a reason why the network was once nicknamed Skinemax.)  I think anyone who grew up in the 90s has at least a few memories of watching these movies with the sound turned down low enough to not run the risk of waking up the adults in the house.  Fred Olen Ray was one of the main directors of these films and he certainly understood what his audience was expecting and, more often than not, he delivered.

That is certainly the case with Friend of the Family II, which is full of sex, violence, and not much else.  (It is also a sequel in name only so don’t worry about not being able to follow the plot if you haven’t seen the first Friend of the Family.)  As someone who casually cheats on his wife and is then shocked to discover that there are consequences for his actions, Alex is not exactly a likable or sympathetic protagonist but most people watching this movie will be watching Shauna O’Brien, who goes all out in the role of Linda.  Linda is unhinged enough to demand sex from Alex while his wife is sleeping right next to him but also clever enough to worm her way into Alex’s family.  Fortunately, O’Brien is convincing no matter what she’s doing and she also brings some vulnerability to the role so Linda is sympathetic no matter how much she tries to destroy everyone’s live.

Friend of the Family II is currently on Tubi, under the name Passionate Revenge.  It will be best enjoyed by people who have nostalgic memories of late night Cinemax.

Retro Television Review: City Guys 1.9 “Future Shock” and 1.10 “Easy Money”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing City Guys, which ran on NBC from 1997 to 2001.  The entire show is currently streaming on Tubi!

Believe it or not, there’s a “lost” episode of City Guys.

According to Wikipedia, an episode called “The Movie” aired on November 1st, 1997.  Here’s the plot description: Jamal and Chris decide to make a film using the school’s video camera. Things gets hairy when Ms. Noble wants to see their progress on the yearbook video.  

Sound like fun, right?  Unfortunately, it appears that “The Movie” was not included in City Guys‘s syndication package and, as a result, it’s also not available to stream on Tubi or anywhere else online.  So, we’ll just have to accept that “The Movie” is lost to us.  That said, it is nice to see that the show apparently attempted to return to the video yearbook storyline.  For something that was supposed to be a big, year-long project, it certainly doesn’t appear that Chris and Jamal spent much time working on it.

For instance, in the two episodes that are reviewed below, they both manage to develop a gambling addiction and Jamal faces his own mortality.  But no one says a damn thing about the video yearbook.

Anyway, roll with the city guys!

City Guys 1.9 “Future Shock”

(Directed by Frank Bonner, originally aired on November 8th, 1997)

“Meet Charlie Gresham,” Ms. Noble tells Jamal after he runs into Charlie (Corey Parker) in Noble’s office, “your class president.”

But wait a minute?  Didn’t they elect a new class president in the previous episode?  As you may remember, Cassidy, Dawn, and El-Train were all running for the office.  Who the Hell is this Charlie Gresham guy?  I’ve already pointed out that, even in its first season, City Guys struggled with continuity but this has got to be one of the show’s most glaring examples of just not keeping track of stuff.  Did no one involved in the production care?  I mean, even Saved By The Bell managed to remember that Jessie was class president.

Charlie is a lovable and charismatic class clown who is also a straight A student.  He’s even got a scholarship to Harvard!  He and Jamal meet and become best friends the same day!  But then, the next morning, Ms. Noble announces that Charlie has been killed by a drunk driver.  Bye, Charlie!

Jamal is so upset over the death of someone who he’s known for less than 24 hours that he decides that there’s no point of studying to do well on his PSATs.  Character actor Clyde Kusatsu shows up as the therapist who is brought in to help everyone come to the terms with the death of a universally loved classmate whom none of them had ever mentioned before.  Kusatsu is always good.

Actually, the entire cast does a good job in this one.  It perhaps would have been more powerful if Charlie had actually been seen (or even referred to) prior to this episode but, given the show’s lack of concern with continuity, I wouldn’t be surprised if Charlie turns up alive in a future episode.  That said, Ms. Noble asking Jamal to deliver the eulogy at Charlie’s memorial service felt a bit weird.  They’d know each other for about 8 hours before Charlie died.  “I don’t know what to say!” Jamal says.  Yeah, I wouldn’t know what to say at a complete stranger’s funeral either.

Anyway, Charlie’s ghost comes back and encourages Jamal to keep on studying.  That was nice of him.  This episode ends with a totally unironic performance of Kumbaya.  That takes guts.

City Guys 1.10 “Easy Money”

(Directed by Frank Bonner, originally aired on November 15th, 1997)

Chris and Jamal start making bets on football games!  They make a ton of money and they’re even able to go out and buy totally happening portable televisions!

Unfortunately, when they try to become bookies themselves (don’t ask), they end up owing $400 to El-Train and his cousin.  Yes, El-Train returns in the episode.  When we last saw him, he was running for class president and determined to turn his life around.  In this episode, he’s back to being the much feared school bully.  He’s so intimidating that Chris and Jamal steal $400 from the school raffle.  These city guys may be smart and streetwise but are they really the neat guys?  I’m having my doubts.

Anyway, everyone confesses in the end and Ms. Noble punishes them by forcing them to clean the school furnace for free.  Unfortunately, Chris and Jamal also had to give back their portable televisions.  What a shame.

The message is don’t gamble but the subtext is that Jamal didn’t learn a damn thing from Charlie Gresham’s death.  Hopefully, next week’s episodes will find him behaving in a way that would have made Charlie proud.

Book Review: Altamont: The Rolling Stones, the Hells Angels, and the Inside Story of Rock’s Darkest Day by Joel Selvin


First published in 2016, Altamont: The Rolling Stones, the Hells Angels, and the Inside Story of Rock’s Darkest Day takes a look at the infamous free concert that was held at California’s Altamont Speedway in 1970.

The Free Concert was meant to be a sequel of sorts to Woodstock, with bands like Jefferson Airplane, Santana, Crosby Stills Nash and Young, The Grateful Dead, and the Flying Burrito Brothers teaming up with the Rolling Stones in order to give everyone a free day and night of good music and good vibes.  While the music may have good (seriously, what a line up!, even if the Dead ultimately refused to take the stage), the vibes were anything but.  Not only was the concert hastily put together but someone came up with the bright idea of getting the Hell’s Angels to provide security.  After a day that was frequently marred by violence (among the victims was Jefferson Airplane’s Marty Balin, who was actually knocked unconscious while the band was performing), Altamont came to an apocalyptic conclusion with the murder of a young concertgoer named Meredith Hunter.  The concert may have been sold as a west coast Woodstock but, instead, it become one of the events that is regularly cited as signifying the end of the 60s.

There’s a spectacular documentary called Gimme Shelter, which contains not only footage of the violence while it happened but also features scenes of lawyer Melvin Belli setting up the concert and performing for the camera.  (“I’m opening for the Stones,” he says at one point.)  While the documentary does a good job of showing what happened, it doesn’t dig into why it happened.  Fortunately, Joel Selvin’s Altamont provides a good, in-depth history of not just what happened at Altamont but also how it all came to be.  Selvin explores what led the Stones to holding a free concert in the first place and also how a mix of 60s naivete and greed led to catastrophe.  While the Stones come across as being a bit too detached from the counter culture to actually understand what they were dealing with at Altamont, the Grateful Dead come across as being in denial about the violence lurking underneath the scene.  Meanwhile, the other performers simply try to complete their set without getting sucked in to the bad vibes all around them.  Jefferson Airplane’s performance, which was vividly captured in Gimme Shelter, is revealed in its full horror in Selvin’s book.  (Having forgotten to put in her contact lenses, Grace Slick found herself trying to calm people who she could barely see.)  Of course, as bad as the Airplane’s experience was, they still had no problem leaving their drummer behind when they finally escaped the concert.  Poor Spencer Dryden.  (Apparently, the other members of the band had decided that they didn’t particularly Dryden so why not abandon him with the Hell’s Angels?  Someday, someone will make a very good movie about Jefferson Airplane.)

Selvin not only writes about the bands and the Hell’s Angels but also about some of the people at the concert, many of whom found themselves in a war zone.  Perhaps most importantly, he writes about Meredith Hunter and the life he led before that terrible night at Altamont.  As a writer, Selvin is compassionate but also honest.  Every character, from the famous to the forgotten, emerges from Selvin’s narrative as a complex and interesting human being.  Selvin humanizes the people involved with Altamont without ever trivializing the tragedy of it all.

Altamont is often held up as being the reverse image of Woodstock.  Of course, Woodstock ’99 ended up having more in common with Altamont than with the original three days of peace, love, and music.  Joel Selvin’s book is a fascinating look at how that happened and what it all means.

Cleaning Out The DVR: Urban Cowboy (dir by James Bridges)


Last night, I watched the 1980 film, Urban Cowboy.  This was a film that had been sitting on my DVR for over a year.  For some reason, I had never actually gotten around to watching it.  There were many times when I started to watch it but I always ended up stopping after a few minutes.  I was never quite sure why as everything that I had heard about the film was positive.  Having finally watched it last night, I think I hesitated because I instinctively knew that John Travolta would look silly wearing a cowboy hat.

And let’s just be honest.  He does.  I mean, Travolta actually gives a fairly good performance in Urban Cowboy.  He plays Bud, a kid from West Texas who moves to Houston so that he can work on an oil rig with his uncle, Bob (Barry Corbin).  At first, he only wants to stay in Houston long enough to raise the money to buy some land back home.  But, he soon falls in love with the Houston nightlife and the local country-western bar.  (He’s Travolta so, of course, he can dance.)  He also falls in love with and eventually marries Sissy (Debra Winger).

Travolta is believable as an impulsive young adult who might not be particularly smart but who makes up for it with a lot of determination.  And he even does an okay job when it comes to capturing the country accent of West Texas.  But that said, whenever he puts on that cowboy hat, the viewer is immediately reminded that Travolta is actually from New Jersey and probably never even attended a rodeo until he was cast in Urban Cowboy.  The hat feels like an affectation, an attempt by a city boy to be more country as opposed to a country boy trying to hold onto his identity in the city.  Ironically, the term “urban cowboy” has come to mean someone who, despite having never left the city, dresses like they’re heading out to herd the cattle and rope some steers.  However, in the film itself, the hat is meant to be a natural part of Bud’s persona but it never quite feels that way.

Far more credible as a cowboy is a youngish Scott Glenn, who plays Wes Hightower.  After Bud’s chauvinistic and abusive behavior drives Sissy away, she ends up with Wes.  Wes teaches Sissy how to ride a mechanical bull, which is something Bud tried to forbid her from doing.  Wes is confident and dangerously sexy and he can even make the fact that he lives in a run-down trailer work for him.  Unfortunately, Wes also turns out to be even more controlling and abusive than Bud.  Even though Bud still loves Sissy and Sissy still loves him, Bud soon hooks up with Pam (Madolyn Smith), the daughter of a wealthy oilman.

Many more complications follow and, of course, there’s one big tragedy that causes Bud to reexamine his life.  Not surprisingly, the film’s conclusion all comes down to who can stay on that mechanical bull for the longest….

The best thing that Urban Cowboy has going for it is not Travolta or Glenn but instead, it’s Debra Winger, who gives a believable and relatable performance as Sissy, playing her as someone who may not have much but who refuses to surrender her pride.  She knows that she deserves better than both Bud and Wes, even if she is hopelessly in love with one of them.  Winger has chemistry with both Travolta and Scott Glenn, which makes the film’s love triangle feel like something more than just a typical story about a girl who can’t resist a bad boy.  She grounds the film in reality and, as such, there are real stakes to the film’s story.  Thanks to Winger, Urban Cowboy becomes about something more than just a fight over a mechanical bull.

The second best thing that Urban Cowboy has going for it is that it does manage to capture the atmosphere of a good country-and-western bar.  It’s place where people go to relax after a hard day’s work.  Unlike the discotheques  that Travolta frequented in Saturday Night Fever, the bars in Urban Cowboy eschew glamour and artifice.  Instead, they’re all about proving yourself not on the dance floor but on the back of a mechanical bull.  For Sissy, the bull symbolizes freedom.  For men like Bud and Wes, it symbolizes survival.  Myself, I’m not a drinker so my bar experience is limited.  And, though I may be from Texas and I spent a lot of time in the country while I was growing up, I’ve never been a fan of country music.  That said, I’ve danced to a few country songs and I’ve certainly stopped by a few bars, even if I was usually the one who annoyed my family and friends by just asking for a glass of water.  I’ve been to the rodeo and I’ve seen people get trampled.  I’ve also seen a few people get tossed off a mechanical bull.  I’ve never been on a mechanical bull myself but I did buy one for my Sims.  (They loved it but, sadly, I had to get rid of it because they spent so much time riding it, they kept missing work and getting fired.)  From my limited experience, I can say that Urban Cowboy got most of the details right.  Even though it was made 42 years ago, it still feels authentic.

That said, Travolta still looks odd wearing a cowboy hat.