NASHVILLE GIRL 1976

Hicksploitation Movie Night # 10 !

"All She Wants Is A Break, All They Want Is Her Body"

     Released the same year as Robert Altman's NASHVILLE this bicentennial year New World cautionary tale of the rocky and brutal road to country music stardom combines drama along with exploitation elements (even working a women in prison sequence) to create a great little gem of 70's drive-in entertainment. Anchored throughout by an outstanding performance by Monica Gayle (best known as "Patch" from Jack Hill's SWITCHBLADE SISTERS from 1975), it also draws a bit from Loretta Lynn's autobiography Coal Miners Daughter which was published that same year (it was even re-released as COUNTRY MUSIC DAUGHTER after the success of the 1980 screen version of Lynn's story). 

    16 year old Jamie Barker (Gayle) dreams of becoming a big time country singer and escaping her small southern town. After being violently raped by an inbred looking neighbor who catches her skinny dipping and later having her father beat her with a belt for listening to a transistor radio while in church she runs away from home. Hitchhiking to Nashville, she's picked up by gruff but kindly truck driver Leo V. Gordon (who protects her against his lecherous partner). Arriving in Music City USA she quickly discovers that the only way to kick start her singing career is to succumb to the sexual advances and pawing hands of various smarmy record producers & music insiders. Taking refuge at the local YWCA she meets fellow wanna-be singer Alice (a cute as heck Marcie Barkin) and the pair pay a futile visit to con-artist/music publisher C.Y. Ordell (the great Jesse White).

  

    Finding herself short of money Jamie takes a job at a massage parlor ("I'm only the receptionist !") where she's caught up in sting operation and sent to a women's prison work farm. At the farm she has the fend off the advances of the predatory matron in the shower and upon release hooks up with seemingly nice guy session musician Kelly (Roger Davis from DARK SHADOWS). Kelly in turns introduces her to country superstar Jeb Hubbard (Glenn Corbett - who a few years earlier played Pat Garrett in John Wayne's CHISUM) who signs her to an exclusive contract and begins molding her into a superstar. However things being to spiral out of control as the now christened "Melody Mason" has to deal with an increasingly schizoid Jeb, having to go to bed with slimy records producers (who wear truly hideous 70's wardrobes), life on the road & all the pitfalls of stardom. 

    Being a New World production NASHVILLE GIRL does play up the exploitation elements as there seems to be a script coda that every 20 minutes or so Gayle has to shed her clothes and the prison sequence feels shoehorned in, but at its core there's a solid little drama beating away here. There's a few attempts at a bit of humor that don't juxtapose too well with some of the more sordid plot elements such as Jamie's seemingly constant degradation with literally every man she comes across being unscrupulous and/or a sexual predator. In fact the only two wholly sincere people she meets happen to be women - one being the aforementioned Alice and later Frisky (Shirley Jo Finny) with whom she meets up with in prison. 

  

    The strength of this type of movie either rises or falls flat on its face with its leading character and Monica Gayle is truly a wonder here, slowly changing from sweet corn fed innocence to hard bitten cynicism. Slender, fair skinned with a very natural "prettiness", she had been knocking around in the low budget movies since the early 60's along the way appearing in Gary Graver's SANDRA : THE MAKING OF A WOMEN (1969), the Larry Buchanan oddity STRAWBERRIES NEED RAIN from 1970 and probably her piece de resistance came in 1975 with the Jack Hill classic girl gang war opus SWITCHBLADE SISTERS. She drifted to TV in the late 70's with a stint on GENERAL HOSPITAL and then just dropped out of sight.

    Except for a cover of Bob Wills Faded Love the soundtrack features all original songs by Rory Bourke, Johnny Wilson and Gene Dobbin. They're excellent representatives of 70's country music and Gayle does an outstanding job of (what I presume is) lip syncing to them - even doing a better job then country singer Johnny Rodriguez in his short cameo. In spite of its budget the film has some well staged studio and stage sequences and actual filming locations in Nashville help with the atmosphere. A film that's fallen under the radar for way too long, it was released by Scorpion on DVD and on a newly released blu-ray. 

All the above screen captures above are from the Scorpion DVD release. 

Hicksploitation Movie Night # 9 - Angie Dickinson & POLICE WOMAN 1975

Season 2 Episode 9  BLAZE OF GLORY

Original Air Date Nov. 11 1975

Angie as Sgt. "Pepper" Anderson goes undercover as a prostitute and gets taken prisoner by a trio of white trash bank robbers - including a shotgun totin' Don Stroud !

    Although today a well known screen and television icon, back in the early 70's Angie Dickinson was probably most famous for being the on again/off again wife of pop songwriter Burt Bacharach. Because of her daughter's illness she had turned down many roles in the 60's but did seem to have an unquestionable knack for appearing in movies that while maybe not being critical or audience favorites at the time have grown in stature over the years. Whether in films that while not critical lauded at the time have now become regraded as American classics (RIO BRAVO), or as nowadays hip (OCEANS 11) or gained cult status over the years (John Borman's psychedelic neo-noir POINT BLANK and Don Siegel's too violent for TV remake of THE KILLERS) and even with some rather unknown gems still waiting to be discovered (such as THE OUTSIDE MAN) you gotta admit she does have one cool resume.

   In 1974 a couple of serendipitous things happened to her career-wise as first off she accepted a role in Roger Corman's BIG BAD MAMA which turned out to be a gigantic hit and partly because of the success of POLICE WOMAN ran for several years on the drive-in/exploitation circuit (costing around $400,000 to produce it eventually grossed more then $5,000,000). Playing a depression era Texas widow who along with her two young daughters embarks a bank robbing spree, the 43 year old Dickinson caused a stir by appearing naked in several scenes (including full frontal) along with a post Star Trek William Shatner. Upon viewing its obvious that Angie is having a blast in the role and to her credit she has never shied away from it and to this day proudly states she was glad to show off her body. The success of BIG BAD MAMA and POLICE WOMAN would lead to her unforgettable role in Brian De Palma's DRESSED TO KILL from 1980.

   Earlier in the same year as BIG BAD MAMA she had appeared in an episode of the NBC anthology TV series POLICE STORY titled "The Gamble" where she played police woman Lisa Beaumont who goes undercover to bust up a gambling ring. The pilot was well received and it was decided to go ahead as a series with the debut episode premiering on the 13th of Sept. - which in a bit of lucky publicity (perhaps seen to by Corman) timed nicely with the Sept. 19 opening of BIG BAD MAMA. For the TV series her superior Lt. Bill Crowley was played by Earl Holliman (probably most familiar at the time from THE SONS OF KATIE ELDER) who was wisely replacing game show host Bert Convy from the pilot and her fellow officers (as in the pilot) were played by Ed Bernard (ACROSS 110TH STREET) and as one of the most unlikely hippies ever was Charles Dierkop (THE STING). Angie's proper first name in the series (she's referred to as "Pepper"or "Pep") is listed as Suzanne in NBC sources, but is also heard as Leanne a couple of times in the first two seasons.

    Running for four seasons POLICE WOMAN was massively popular, with even President Ford arranging his schedule (and supposedly canceling a press conference) around it and a line of toys was produced by Horsman including a 9" Angie Dickinson doll complete with many fashion choices. During its run POLICE WOMAN was always something of a schizophrenic proposition (that continues to this day in regards to its legacy) as seemingly wanting to juggle presenting an empowered strong central female character in a police drama while at the same time looking for excuses to get Angie into skimpy (or almost no) clothing as often as possible. It was the first hour long network drama to have a female as a central character and quite possibly laid the groundwork for WONDER WOMAN and CHARLIE'S ANGELS (both in terms of strong female characters & 70's "jiggle" TV) and the argument can even be made for the later CAGNEY AND LACEY.
   The show seemed to fall into a pattern with about every 3rd episode presenting some opportunity for TV friendly exploitation with Angie going undercover as a prostitute, bikini model, female gym teacher etc. and most unforgettably as a go-go dancer in the season one episode BLAST (complete with a slimy performance by Robert Vaughan as a club owner). Like most 70's TV police shows it came under fire at various times for its violence content and when viewed today some of it still seems pretty startling for the time including beatings, shootings (shotguns seeming to be favorite) with Earl Holliman in particular racking up a pretty impressive body count. The opening credits neatly juxtapose the sex and violence with shots of Angie's legs and bust alternating with shootings, fights and a set of brass knuckles flying toward the viewer (complete with the classic 70's "freeze frame" to introduce the characters).

    Season two's episode BLAZE OF GLORY is an almost perfect example of everything that made POLICE WOMAN great and what's most fascinating (to me at least) is that the plot and atmosphere both seem to be something straight out of a 70's drive-in movie (bloody shootings, attempted rape, shotguns, a sweaty desert setting and Don Stroud) with a basic story line and characters that could have been taken from an Arthur Marks production (just add Tiffany Bolling and some more sex and violence). Watching it today its still kind of amazing what they could get away with on 70's network television (especially considering it being a weekly show).
  Starting off (naturally) with Angie doing some undercover work as a prostitute while Det. Styles (Ed Bernard) keeps a watch from his fully pimped out Cadillac (which amazingly enough matches Angie's purple outfit perfectly). After knocking off for the day she stops by her bank to cash a check (still in her hooker's stakeout garb) and walks straight into a bank robbery being perpetrated by a magnificently sleazy trio consisting of the Okie shitkicker Lightfoot brothers - Vern played by the great Don Stroud (JOE KIDD and various biker flicks) and Charlie Joe (William Lucking - the mean dude from tons of TV shows) along with Vern's girlfriend Laurene (Nellie Bellflower - "The Lone Stripper" from HAPPY DAYS). With Angie in tow the gang runs off to the desert, after first switching vehicles in a car wash (?? )- which does necessitate Angie getting soaking wet and having to change into a pair of daisy dukes in the back of the getaway van.

  

   As almost the entire episode takes place in the van that gives it a great sweaty claustrophobic feeling as Angie turns on the country girl charm as she flirts with the somewhat dim-witted Charlie Joe, beats off a horny Don Stroud, plus gets into a couple of fights with Laurene and even gets to "flip the bird" at one point ! Vern continually laments about wanting to go out in a "blaze of glory" like his hero Clyde Barrow of Bonnie and Clyde fame, as we even a get a country song added to soundtrack stating this fact. The episode features several bloody shootings (including the perennial favorite shotgun) and the whole thing plays out like a little 50 minute drive-in movie. It's even got an appearance by rubbery faced character actor Phil Leeds as a hapless salesman.
   POLICE WOMAN first season was put out by Sony back in 2006 that included some interesting commentary's by Angie on a few of the episodes and later in 2012 Shout Factory did the second season, but nothings been seen of the final two seasons.

          

Hicksploitation Movie Night # 8 - THE LAST AMERICAN HERO 1973

 

     It’s probably not all together fair to tag THE LAST AMERICAN HERO with the ”hicksploitation” label as although it contains moonshining and car chases in the course of the plot (and was marketed as such by Fox), it’s an excellent character driven drama that features wonderful work by its leads (and a veritable “who’s who” cast of 70’s character actors lurking about). Based upon on an article written by Tom Wolfe in March 1965 issue of Esquire titled The Last American Hero is Junior Johnson ( later re-printed in his book THE KANDY KOLORED TANGERINE FLAKE STREAMLINE BABY), in which Wolfe traveled to North Wilkesboro Speedway in N.C. and profiled stock racer/ ex-moonshiner (and future racing icon & team owner) Junior Johnson.

   Johnson served as technical advisor on the movie and although highly fictionalized (with Johnson’s characters name changed to Jackson and the story brought forth to contemporary times), the movie is helped immensely by actual North Carolina locations and an audience friendly script that contains a hugely “Americana” story with the notion that celebrates individualism and going one’s own way. In many ways its also a fascinating time capsule of rapidly disappearing piece of America & the lower rung roots of modern day racing in the form of the hundreds local dirt tracks that once dotted the south.

   Released at a time when stock car racing (except for the occasionally showing on THE WIDE WORLD OF SPORTS) was essentially a south of the Mason-Dixon line pastime, it had a rather checkered initial release (surprisingly doing better business in northern theatres). Re-released several times (at one point re-tilted HARD DRIVER) it later gained a cult following thru T.V. showings and a growing audience from the “gear head” fan base – such as what happened with John Frankenheimer’s GRAND PRIX from 1966.
   Jeff Bridges was an Oscar nominee for THE LAST PICTURE SHOW (1971) and had just come off John Houston’s excellent FAT CITY (1972) and the now sadly forgotten western BAD COMPANY (1972). Here he plays backwoods North Carolinian Elroy “Junior” Jackson Jr. who as result of running a police blockade in his 1968 Mustang fastback compels the local sheriff to throw his moonshining father (Art Lund) in jail. Although Junior is basically a hothead and showoff (ultimately which is what caused his father to land in jail), like most of the characters Bridges had played over the years he brings a real down to earth personality to the role (along with a slight goofiness – and plus there’s that grin) which makes it impossible to not to root for him from the opening minutes. In addition William Roberts script plays up the “small guy vs. corporate big guys” aspect well in the form of big time racing team owner Burton Colt (70’s slimy/evil guy Ed Lauter).

    Initially seeing racing as a means to help his family out financially (including brother Gary Busey & mother Geraldine Fitzgerald) he enters a demolition derby at the local track run by promoter Hackel (Ned Beatty), but soon begins clawing his way up the racing ladder (“Stars cost money Hackel !”). Entering a race at Hickory N.C. he meets up with promoter Cleve Morley (Clint Eastwood regular and PLAN NINE FROM OUTER SPACE’s Gregory Willcott) and wry veteran driver Kyle Kingman (the great William Smith- here billed as William Smith II), who’s wonderful here as the current top of the heap driver with one eye cast warily over his shoulder at the up & coming youngster. An almost achingly pretty Valerie Perrine plays Marge a racing groupie with a heart of gold who while always aligning herself with the current hot driver takes an immediate liking to Junior, perhaps seeing in him a future champion and someone and although initially attracted to her (and later hurt) she is another one of life’s lessons for Bridge’s character.

    Although at its core THE LAST AMERICAN HERO is a basic one dimensional script (Who will win the big race at the end?!), it is blessed with wonderfully drawn three dimensional characters with only actress Geraldine Fitzgerald somewhat oddly cast as the mother. Although she’s fine here (and looks the part) her Irish accent comes thru rather strongly at some points. As with a lot of movies from this period (and as mentioned before) the supporting cast is filled with familiar faces including Erica Hagen who would have a memorable bit part later in THUDERBOLT AND LIGHTFOOT and additionally appear in about every TV detective/cop show during the 70's. Director Lamont Johnson shows up as an oily hotel desk clerk.
   Bridges is superb in the title role such as the scene where he makes a recorded letter to his family in one of those do-it-yourself record booths and later the closing shot where he waves a greeting to his friends while brandishing the first class trophy before disappearing into the winners press conference as he says good-bye to his past. Although the DVD is OOP this is rumored to be a future blu-ray release from Twilight Time.