A Movie A Day #347: High-Ballin’ (1978, directed by Peter Carter)


Hey, good buddy, remember the Snowman?

The Snowman was the handle of Cledus Snow, the independent trucker who, along with his basset hound Flash, helped the Bandit escape Smokey in three different movies.  Cledus was played by the country western singer, Jerry Reed.  Interestingly, when Smokey and the Bandit was still in preproduction, the film’s producers envisioned a low-budget drive-in movie with Reed in the role of the Bandit.  When Burt Reynolds signaled that he would be interested in playing the man in the black Trans Am, Reed was instead cast as Cledus.

The box office success of Smokey and the Bandit led to several road films being rushed into production and more than a few of them starred Jerry Reed.  Several other of them starred Peter Fonda, who had already proven himself to be the king of the road with Easy Rider.  However, High-Ballin’ is the only trucker film that can claim to have starred both Jerry Reed and Peter Fonda.

In High-Ballin’, Jerry Reed may be playing “Iron Duke” Boykin but he might as well just be Cledus Snow again.  Once again, Reed is an independent trucker with a family at home and a love for the road.  (Just as he did with Smokey and the Bandit, Reed even performed High-Ballin‘s theme song.)  The local trucker’s union is putting pressure on the independent truckers and trying to intimidate them into joining.  Iron Duke has no intention of doing that.  Iron Duke has been hired to haul a load of liquor to an isolated lumber camp and he is not going to let the union or its thugs stop him.  Helping him along the way is his friend Rane (Peter Fonda) and another independent, Pickup (Helen Shaver).

High-Ballin‘ was not as bad as I was expecting it to be.  Reed, Fonda, and Shaver are likable in the lead roles and the action scenes are exciting.  Fonda may have been a notoriously inexpressive actor but he was always believable whenever he was cast as a rebel or an outsider and the friendship between him and the more expressive Reed is as believable as the friendship between Cledus and the Bandit in Reed’s previous trucking film.  Of course, the main reason you are going to watch a movie like High-Ballin’ is to see how many different ways that a car or a truck can be destroyed and this movie does not skimp on the vehicular destruction.  It’s nothing great but, as far as 70s trucking films are concerned, High-Ballin’ is better than average.

One final note: keep an eye out for Michael Ironside in an early role.

10-4, good buddy.  I’m out.

Boobs, Music, and Sci-Fi: Heavy Metal (1981, directed by Gerald Potterton)


Heavy MetalI think I was twelve when I first saw Heavy Metal.  It came on HBO one night and I loved it.  So did all of my friends.  Can you blame us?  It had everything that a twelve year-old boy (especially a 12 year-old boy who was more than a little on the nerdy side) could want out of a movie: boobs, loud music, and sci-fi violence.  It was a tour of our secret fantasies.  The fact that it was animated made it all the better.  Animated films were not supposed to feature stuff like this.  When my friends and I watched Heavy Metal, we felt like we were getting away with something.

Based on stories from the adults-only Heavy Metal Magazine, Heavy Metal was divided into 8 separate segments:

Soft Landing (directed by Jimmy T. Murakami and John Bruno, written by Dan O’Bannon)

Heavy Metal opens brilliantly with a Corvette being released from a space shuttle and then flying down to Earth, surviving reentry without a scratch.  Who, after watching this, has not wanted a Space Corvette of his very own?

Grimaldi (directed by Harold Whitaker)

On Earth, a terrified young girl listens a glowing green meteorite called the Loc-Nar tells her that it is the source of all evil in the universe.  This sets up the rest of the film, which is made up of stories that the Loc-Nar tells about its influence.  The Loc-Nar is the film’s MacGuffin and, seen today, one of Heavy Metal’s biggest problems is that it has to find a way to force the Loc-Nar into every story, even if it meant sacrificing any sort of consistency about what the Loc-Nar was capable of doing.  Even when I was twelve, I realized that the Loc-Nar was not really that important.

Harry Canyon (directed by Pino Van Lamsweerde, written by Daniel Goldberg)

In this neo-noir tale, futuristic cabby Harry Canyon (voiced by Richard Romanus) is enlisted to help an unnamed girl (voiced by Susan Roman) to find the Loc-Nar.  Slow and predictable, Harry Canyon does feature the voice of John Candy as a police sergeant who attempts to charge Harry for police work.

den_1268427864Den (directed by Jack Stokes, written by Richard Corben)

Nerdy teenager David (voiced by John Candy) finds a piece of the Loc-Nar and is transported to the world of Neverwhere, where he is transformed into Den, a muscular, bald warrior.  As Den, David gets to live out the fantasies of Heavy Metal‘s target audience.  On his new planet, Den rescues an Earth woman from being sacrificed, overthrows an evil queen and a sorcerer, and gets laid.  A lot.  Den is the best segment in Heavy Metal, largely because of the endearing contrast between the action onscreen and John Candy’s enthusiastic narration.

Captain Sternn (directed by Paul Sebella and Julian Harris, written by Bernie Wrightson)

heavy-metal_captain-sternOn a space station orbiting the Earth, Captain Lincoln F. Sternn is on trail for a countless number of offenses.  Though guilty, Captain Sternn expects to be acquitted because he has bribed the prosecution’s star witness, Hanover Fiste.  However, Hanover is holding the Loc-Nar in his hand and it causes him to tell the truth about Captain Sternn and eventually turn into a bloodthirsty giant. Captain Sternn saves the day by tricking Hanover into getting sucked out of an air lock.

Captain Sternn was a reoccurring character in Heavy Metal Magazine and his segment is one of the best.  Eugene Levy voices Captain Sternn while Joe Flaherty voices his lawyer and Dean Wormer himself, John Vernon, is the prosecutor.  Even National Lampoon co-founder Douglas Kenney provided a voice.

 B-17 (directed by Barrie Nelson, written by Dan O’Bannon)

After the Loc-Nar enters Earth’s atmosphere, it crashes into a bullet-riddled World War II bomber, causing the dead crewmen within to reanimate as zombies.  Scored to Don Felder’s Heavy Metal (Takin’ a Ride), B-17 is one of the shorter segments and its dark and moody animation holds up extremely well.

So Beautiful and So Dangerous (directed by John Halas, written by Angus McKie)

Nubile Pentagon secretary Gloria is beamed aboard a spaceship that looks like a giant smiley face.  While she has sex with the ship’s robot captain, the two crew members (voiced by Harold Ramis and Eugene Levy) pour out a long line of cocaine and shout “Nosedive!” before snorting up every flake.  So Beautiful and So Dangerous is so juvenile and so ridiculous that it is actually all kinds of awesome.

Taarna

SacrificedIn the film’s final and most famous segment, Taarna, the blond warrior was featured on Heavy Metal‘s poster, rides a pterodactyl across a volcanic planet, killing barbarians, and finally confronting the Loc-Nar.  She sacrifices herself to defeat the Loc-Nar but no worries!  We return to Earth where, for some reason, the Loc-Nar explodes and the girl from the beginning of the film is revealed to be Taarna reborn.  She even gets to fly away on her pterodactyl.  Taarna was really great when I was twelve but today, it is impossible to watch it without flashing back to the Major Boobage episode of South Park.

Much like Taarna, Heavy Metal seems pretty silly when I watch it today.  But when I was twelve, it was the greatest thing ever.

Taarna_Heavy_Metal