Billy Jack

Dir: Tom Laughlin, 1971. Starring: Tom Laughlin, Delores Taylor, Clark Howat, Howard Hesseman. Action/Adventure.

Billy Jack was a minor cultural phenomenon back in 1971. Written, directed, produced by, and starring Tom Laughlin, he probably made the set coffee in the morning as well. A vanity project, to say the least, but one that entertains and works as a document to the issues of the day, though the themes and ideas are incredibly muddled, which makes it all the more fascinating. Laughlin plays Billy Jack, a decorated Vietnam vet ("who turned his back on the war") and karate expert, he’s a "half-breed," hip to the philosophy and ways of the Native Americans. Billy rides around in his Jeep (and motorcycle and on horseback) toting a rifle - he uses violence for peace. Billy Jack, the film, has a lot of hippie mantra spoken, but underneath the grooviness it's actually a perfectly crafted, good, old fashion, revenge-driven, exploitation flick.

The character of Billy Jack first showed up with his badass black cowboy hat in Laughlin's earlier film, The Born Losers. In that one, Billy used his karate and his shotgun to protect a small town from a pack of scumbag bikers. Now he is protecting "The School," a different kind of educational institute, deep in the mountains of a hostile small Southwestern town. This is a place for hippies and pregnant girls and minority kids to learn chanting, ride horses, sing songs, and do groovy improv, questioning the man (led by Howard Hesseman, then of the far-out improv group, The Committee). The School is run by Jean and she is also Billy's girlfriend, or at least his biggest booster, though she digs his Indian mysticism she doesn't cotton to the violence. Laughlin’s real life old lady, Delores Taylor, plays Jean. She also co-wrote the script (under the pseudonym Teresa Christina), as well as its two unwatchable sequels, Billy Jack Goes To Washington and The Trial of Billy Jack. Taylor may know how to type pages but as an actress she is utterly uncomfortable in front of the camera, as if egged on by her boyfriend. Mercifully she has never appeared in any films outside the Laughlin canon.

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Posted by:
Sean Sweeney
Dec 29, 2010 4:49pm

This is Spinal Tap

Dir: Rob Reiner, 1984. Starring: Michael McKean, Christopher Guest, Harry Shearer, Rob Reiner. Comedy.

Although it has had a lot of competition since it was released in 1984, This is Spinal Tap still remains the greatest mockumentary, the best spoof on the rock music scene, and one of the funniest, most continually quotable flicks I’ve ever seen. This was the first film directed by Rob Reiner who, at the time, was primarily known for his role as Meathead on the legendary sitcom All in the Family. He would go on to have a mostly pedestrian directing career with a few stand-outs (Stand By Me). With This Is Spinal Tap, Reiner and his three costars - Michael McKean, Christopher Guest, Harry Shearer (all four of whom are the credited writers) - created something very special whose style has been copied many times over, especially by Guest himself. But nothing has hit it so far out of the park as this one did. 

The mockumentary (a spoof of a documentary) was not new at the time. Though rather dull, David Holzman’s Diary was considered a landmark in 1967. Woody Allen made the now classic Take the Money and Run. There was that Beatles spoof, All You Need is Cash, and Albert Brooks foresaw the coming of reality TV with his Real Life. What makes This is Spinal Tap especially impressive is that it keeps the documentary format the entire film, something most other mockumentaries rarely sustain (including Guest’s later work). Most of the other films often cheat and have moments to try and help the plot along that couldn’t have been documented by a pesky camera crew. Every moment in This is Spinal Tap keeps the documentary format humming. By 1984 the ego-driven rockumentary had been a standard cash generator for most megabands (peaking in the seventies before the music video came to dominate the self-promotion machine). Going at least as far back as Bob Dylan’s Don’t Look Back in ’67 and the music festival docs Monterey Pop and Woodstock, it was really The Rolling Stones’ Cocksucker Blues and Led Zeppelin’s The Song Remains The Same that gave This is Spinal Tap its most potent fodder.

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Posted by:
Sean Sweeney
Nov 11, 2013 1:42pm
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