With post-Vietnam War movies there is a “Vietnam Vet taking down his enemies” genre that would include the pulp biggies Taxi Driver, Billy Jack and First Blood, as well as pure vigilante exploitation films like Eye of the Tiger, Vigilante Force, The Exterminator, The Annihilators and Gordon’s War (not to be confused with the ‘Nam vets that appear as crazies in Targets, Black Sunday, Skyjacked and Earthquake or the zombie vets of Cannibal Apocalypse). Somewhere between pulp and vetploitation lays the very intense and violent Rolling Thunder. This was director Joe Flynn’s followup to his interesting crime thriller The Outfit. Paul Schrader (most famous for writing Taxi Driver and Raging Bull) wrote the screenplay though he claims it was reworked away from his original intention by credited co-writer Heywood Gould (Fort Apache the Bronx and Cocktail). Either way Rolling Thunder definitely carries Schrader’s signature theme of the lonely loner on a self-destructive path against society while seeking his own kind of redemption.
The film opens with Denny Brooks’ ballad “San Antone,” which was used similarly in The Ninth Configuration (he also sang the theme to the Chuck Norris choppy-socky Breaker! Breaker!). After spending years as POWs, Major Charles Rane (William Devane) and Sergeant Johnny Vohden (a very young and very intense Tommy Lee Jones) finally return home to Texas. Of course, we know from our film studies, going as far back as William Wyler’s WWII drama The Best Years of Our Lives, that returning vets have a tough time readjusting. And Rane is no different. His pretty wife Janet (Lisa Blake Richards of TV’s Dark Shadows) tries to help him ease back into civilian life, but he senses she has moved on (it’s obvious she has been involved with a local cop), and his son doesn’t even remember him. Rane suffers from PTSD and is emotionally distant, even turning down the advances of a young military groupie, Linda (Linda Haynes). The town tries to make him feel welcomed with a parade, a new car and over two grand in silver dollars (one for every day he was in captivity).Continue Reading
The Deer Hunter
The Deer Hunter - a film about three Pennsylvania steel worker buds who go off to fight in Vietnam, and how the war affects them and the people around them - was massively praised on release back in '78. Time has been a mixed bag for the film, though everyone would agree the acting, with Robert De Niro leading a cast of then mostly unknowns, is exceptional; it’s the film’s murky politics and point of view that has been put into question. Much of the reevaluation has arisen with the epic rise and brutal fall that director Michael Cimino went through. But regardless of what the film was trying to convey, what is on screen is a stunning looking piece of filmmaking. Like a great symphony, it is often gentle and quiet, but still emotional and then loud with a horn section of shocking violence, giving the film a massive punch to pack.
The first third of the film’s three-hour running time follows a group of steel workers first preparing for Steven’s (John Savage) Russian Orthodox wedding and then a deer hunting trip as Steven, Michael (De Niro), and Nick (Christopher Walken) are about to be shipped out to Vietnam. They are joined by three other friends played by George Dzundza (Basic Instinct), Chuck Aspegren in his only film role, and the great John Cazale (Fredo of The Godfather and Sal of Dog Day Afternoon in his fifth and final film role before he died). The overly tense Michael also has a little thing for Nick’s girlfriend, Linda (Meryl Streep), but acting on it would play against his machismo code.Continue Reading
Thunderbolt and Lightfoot
Clint Eastwood hit the big time with his trio of Sergio Leone-directed genre-bending spaghetti westerns and then propelled to superstardom with the vigilante-cop Dirty Harry flicks. But even while playing the mega-star in commercial fare he still managed to make a number of unusual flicks you wouldn’t expect from an actor riding such a glorious wave. Films like the gothic, civil war, teen lust thriller The Beguiled or playing a sociopathic rapist gunmen in the western High Plains Drifter (both great flicks) matched by what could only be called a homoerotic, action, road, buddy-dramady called Thunderbolt and Lightfoot, it’s like Midnight Cowboy but with fast cars and guns. The other thing that makes the movie so unique in Eastwood’s filmography; it was the only time in the era that he was paired with a co-star with so much measurable talent. In his best performance after his debate in The Last Picture Show, Jeff Bridges gives a fascinating performance and shows why he would also eventually reach iconic status (he also got well-deserved Oscar nominations for both films). Thunderbolt and Lightfoot provides Eastwood fans with the expected muscle, but also an odd dose of heart.
After the syrupy theme song by Paul Williams called “Where Do I Go From Here?” Eastwood first appears on screen as a minister giving a sermon in a church. When an assassin tries to shoot him, clearing the church, he takes off on foot and is saved when an ...