Welcome Home, Soldier Boys (1971, directed by Richard Compton)


Talk about embarrassing!  When Lisa told me that today was Joe Don Baker’s birthday, I decided that I would review Speedtrap, as 1977 car theft movie that Lisa and I watched last week.  But, when I took a look at the imdb to double check the name of the character that Baker played in Speedtrap, I discovered that I had already reviewed it!

Instead of talking about Speedtrap a second time, I’m going to recommend one of Joe Don Baker’s early films.  In Welcome Home, Soldier Boys, Baker stars as Danny, the leader of a group of Green Berets who have just returned from Vietnam and can no longer find a place in society.  Danny, Kid (Alan Vint), Shooter (Paul Koslo), and Fatback (Elliott Street) go on a cross-country road trip.  After they kill a prostitute (Jennifer Billingsley) who demanded more money than they were willing to pay, they visit many sites from their youth.  They go to a high school basketball team.  They spend some time in a sleazy motel.  (Geoffrey Lewis plays the desk clerk.)  They get into a fight with a mechanic (Timothy Scott) over the price of some auto repairs.  After being cheated by one too many people and realizing that no one cares about the sacrifices that they made for their country, they put on their uniforms and violently take over a small town, leading the National Guard to show up to take them all out.

Welcome Home, Soldier Boys is a pretty ham-fisted anti-war allegory and the plot sometimes meanders too much for its own good.  With its road trip violence, its a dry run for director Richard Compton’s far more cohesive Macon County Line.  The movie still packs a punch, due to the efforts of the cast and the violent ending.  The movie is full of familiar characters actors, who are all convincing in their roles but it really is dominated by Joe Don Baker’s hulking intensity.  Danny is the dark side of the amiable country boys that Joe Don Baker would play in so many other movies.  Danny is angry but, as a stranger in a strange land, he’s sometimes sympathetic.  Ultimately, Danny wants the respect that was given to the returning soldiers of the previous generation.  Instead, he comes back to country that doesn’t want much to do with him or his friends.  Returning from serving overseas and still trying to deal with the things that he saw in overseas, Danny feels lost in and rejected by his home country.  It’s one of Baker’s best performances.

A Movie A Day #354: Lolly-Madonna XXX (1973, directed by Richard C. Sarafian)


In the backwoods of Hicksville, USA, two families are feuding.  Laban Feather (Rod Steiger, bellowing even more than usual) and Pap Gutshall (Robert Ryan) were once friends but now they are committed rivals.  They claim that the fight started when Pap bought land that once belonged to Laban but it actually goes back farther than that.  Laban and Pap both have a handful of children, all of whom have names like Thrush and Zeb and Ludie and who are all as obsessed with the feud as their parents.  When the Gutshall boys decide to pull a prank on the Feather boys, it leads to the Feathers kidnapping the innocent Roonie (Season Hubley) from a bus stop.  They believe that Roonie is Lolly Madonna, the fictional fiancée of Ludie Gutshall (Kiel Martin).  Zack Feather (Jeff Bridges), who comes the closest of any Feather to actually having common sense, is ordered to watch her while the two families prepare for all-out war.  Zack and Roonie fall in love, though they do not know that another Feather brother has also fallen in love with Gutshall daughter.  It all leads to death, destruction, and freeze frames.

Lolly-Madonna XXX is a strange film.  It starts out as a typical hicksploitation flick before briefly becoming a backwoods Romeo and Juliet and finally ending up as a heavy-handed metaphor for both the Vietnam War and the social upheaval at home.  Along with all the backwoods drama, there is a fantasy sequence where Hawk Feather (Ed Lauter) briefly imagines himself as an Elvis-style performer.  (Hawk also dresses up in Roonie’s underwear.)  Probably the most interesting thing about Lolly-Madonna XXX is the collection of actors who show up playing Feathers and Gutshalls.  Along with Steiger, Ryan, Martin, Bridges, and Lauter, everyone from Randy Quaid to Paul Koslo to Scott Wilson to Gary Busey has a role to play in the feud.  Lolly-Madonna XXX is too uneven and disjointed to really be considered a good movie but I can say that I have never seen anything else like it.

One final note: Lolly-Madonna XXX was directed by Richard Sarafian, who is best known for another early 70s cult classic, Vanishing Point.

Lisa Watches An Oscar Nominee: Butch Cassidy and the Sundance Kid (dir by George Roy Hill)


Butch_sundance_poster

Should I start this post by ticking everyone off or should I start out by reviewing the 1969 best picture nominee Butch Cassidy and The Sundance Kid?

Let’s do the review first.  I recently watched Butch Cassidy and the Sundance Kid when it aired as a part of TCM’s 31 Days of Oscar.  This was actually my third time to see the film on TCM.  And, as I watched Butch Cassidy and the Sundance Kid for the third time, I was shocked to discover how much I had forgotten about the film.

Don’t get me wrong.  I remembered that it was a western and that it starred Paul Newman and Robert Redford as real-life outlaws Butch Cassidy and the Sundance Kid.  I remembered that it opened and ended with sepia-toned sequences that suggested that Butch and Sundance represented the last gasp of the old west.  I remembered that Butch won a fight by kicking a man in the balls.  I also remembered that they robbed the same train twice and, the second time, they accidentally used too much dynamite.  I remembered that, for some reason, Butch spent a lot of time riding around on a bicycle.  I remembered that Butch and Sundance ended up getting chased by a mysterious posse.  I remembered that Sundance could not swim.  And I remembered that the film eventually ended on a tragic note in South America…

And I know what you’re saying.  You’re saying, “It sounds like you remembered the whole movie, Lisa!”

No, actually I did not.  The thing with Butch Cassidy and the Sundance Kid is that the scenes that work are so memorable that it’s easy to forget that there’s also a lot of scenes that aren’t as memorable.  These are the scenes where the film drags and you’re thankful that Paul Newman and Robert Redford were cast as Butch and Sundance, because their charisma helps you overlook a lot of scenes that are either too heavy-handed or which drag on for too long.  You’re especially thankful for Newman, who plays every scene with a twinkle in his wonderful blue eyes and who is such a lively presence that it makes up for the fact that Redford’s performance occasionally crosses over from being stoic to wooden.  It can be argued that there’s no logical reason for a western to feature an outlaw riding around on a bicycle while Raindrops Keep Fallin’ On My Head plays on the soundtrack but Paul Newman’s so much fun to watch that you can forgive the film.

Newman and Redford both have so much chemistry that they’re always a joy to watch.  And really, that’s the whole appeal of Butch Cassidy and the Sundance Kid, the chance to watch two iconic actors have fun playing opposite each other.  Even though Katharine Ross appears as their shared romantic interest, the film’s love story is ultimately between Butch and Sundance (and, by extension, Newman and Redford).  You can find countless reviews that will give all the credit for the film’s appeal to William Goldman’s screenplay.  (You can also find countless self-satisfied essays by William Goldman where he does the exact same thing.)  But, honestly, the film’s screenplay is nothing special.  This film works because of good, old-fashioned star power.

Now, for the part that’ll probably tick everyone off (heh heh), I think that Butch Cassidy and the Sundance Kid is actually a pretty good pick for a future remake.  All you have to do is pick the right actors for Butch and Sundance.  I’m thinking Chris Pratt as Butch and Chris Evans as Sundance…

Oh, c’mon!  It’ll be great!