By Scott Von Doviak
Whereas the pimps and gamers of blaxploitation videos ruled inner-city theaters, solid previous boys with muscle less than their hoods and moonshine of their trunks roared onto drive-in displays all through rural the USA. the recognition of those "hick flicks" grew through the '70s, and so they attained mass attractiveness with the 1977 liberate of Smokey and the Bandit. It marked the heyday of those local favorites, yet inside of a number of brief years, altering financial realities in the motion picture enterprise and the cave in of the drive-in marketplace could successfully spell the top of the so-called hixploitation genre.
This complete examine of the hixploitation style is the 1st of its sort. Chapters are divided into 3 significant themes. half One bargains with "good ol' boys," from redneck sheriffs, to moonshiners, to honky-tonk heroes and past. half explores highway videos, that includes back-road racers, truckers and every thing in among. half 3, "In the Woods," covers videos approximately all demeanour of beasts—some of them human—populating the swamps and woodlands of rural the US. movie stills are integrated, and an afterword examines either the decline and metamorphosis of the style. A filmography, bibliography and index accompany the textual content.
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Additional info for Hick Flicks: The Rise and Fall of Redneck Cinema
Com, and the author of The Ultimate Film Festival Survival Guide and The 50 Greatest Movies Never Made. He is the producer and co-writer of My Big Fat Independent Movie, and the host of Ultimate Film Fanatic on the Independent Film Channel, and lives in Los Angeles. Preface: Downriver “No,” Griner answered slowly. “I ain’t never been down in there much. There ain’t nothing to go down there for. ” “Never been. But I don’t believe I’d go there if I was you. ” “Because it’s there,” Lewis said, for my benefit.
Finally, there are the sunglasses.
Gator now has a daughter (never mentioned in White Lightning), on hand briefly at the beginning to enhance her father’s warm and fuzzy credentials, then quickly whisked offstage in order to make way for heroics and romance. Goofiness eventually overtakes the movie entirely. By the final half-hour, which is overloaded with cutesy scenes between Reynolds and Lauren Hutton (playing a television journalist who falls for Gator), as well as silly action sequences, the movie resembles nothing so much as a low-grade James Bond ripoff, complete with cartoonish henchmen like the too-tall Bones (William Engesser) and the self-explanatory Smiley (Burton Gilliam).