cult movie

TCM’s Billy Jack extravaganza

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BILLY JACK (1971)

On November 14, Turner Classic Movies will present the Billy Jack trilogy. The iconic character of Billy Jack was created by the groundbreaking independent filmmaker Tom Laughlin. Laughlin originated the character in his biker exploitation movie Born Losers (1967), and then fully unleashed him in Billy Jack (1971), The Trial of Billy Jack (1974) and Billy Jack Goes to Washington (1977).

Billy Jack is a Vietnam vet who embraces his own combo of New Age mysticism and Native American spiritualism.  Billy Jack uses martial arts to kick the crap out of the bad guys who bully women, Native Americans and teenagers. Laughlin played a character along similar themes in his The Master Gunfighter (1975), only bearded and wielding a samurai sword.

The prickly Laughlin made and distributed his films independently, and Billy Jack and Trial were huge box office successes, among the most financially successful indies ever. For The Trial of Billy Jack, Laughlin engineered the then-unheard-of simultaneous release on 1500 screens. This excellent Bill Gibron article in Pop Matters describes this precursor of the Hollywood blockbuster strategy.  Billy Jack was also the first widely seen martial arts movie in America.

Despite his innovations in the movie business, Laughlin never succeeded in making a good movie. Filled with clumsy acting and hackneyed dialogue, the films are still pompous, self-important and humorless.

Laughlin’s signature as a screenwriter is heavy-handedness. It’s never enough for the bad guys in the Billy Jack movies to be bad. They also have to be racist AND mean to animals AND sexually perverted. Billy Jack opens with the bad guys illegally raiding an Indian reservation to steal a herd of wild mustangs and to herd them to a corral where they will be shot at pointblank range to bring in six cents per pound as dog food. One of the Billy Jack villains seduces a 13-year-old, insists on forcing a willing floozie at knifepoint and, for good measure, stakes a saintly teacher to the ground for a ritual rape. In The Trial of Billy Jack, a government henchman shoots a child – in the back – while he is cradling a bunny.

I have a Bad Movie Festival that features unintentionally bad movies that are fun to watch and mock. The Billy Jack movies are too painful for this list. While bad enough, they are gratingly platitudinous.

Laughlin died at age 82 in 2013. Laughlin was married since 1954 to his Billy Jack co-writer and co-star Delores Taylor, who died earlier this year.

Cinequest – The Ghastly Love of Johnny X: gum-chewing greasers bring fun from Outer Space

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You gotta like a movie whose tag line is: “They sing! They dance! They’re juvenile delinquents from outer space!”  I saw The Ghastly Love of Johnny X at its world premiere at Cinequest 22, and writer-director Paul Bunnell said that he was primarily inspired by the teenage delinquent movies of the 50’s.  But it’s also clear that Bunnell has seen more than his share of sci-fi movies from the 50s (and maybe a Russ Meyer film or two).

Bunnell evoked the genre by shooting in a crisply beautiful black and white (on the last of Kodak’s 35mm black and white Plus X film stock).  Ghastly Love is about some space aliens in the form of T-bird driving hard guys.  Having been exiled to our planet,  they grease their hair and snap their gum, and occasionally break into a musical number.

Before I saw it, I was concerned that Ghastly Love might be trying too hard to be the next The Rocky Horror Picture Show cult classic, but, not to  worry, Ghastly Love definitely stands on its own.  The cast and crew evidently had fun making this picture, and the fun carries over to the audience.

This was the last film for the late Kevin McCarthy, who was enough of a good sport to don a Devo hat and play the Grand Inquisitor.  McCarthy, whose Oscar-nominated performance as Biff in Death of a Salesman was 61 years ago, brought some sci-fi cred from the 1956 Invasion of the Body Snatchers.

DVD of the Week: Road to Nowhere

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Road to Nowhere could be subtitled Monte Hellman’s Jigsaw Puzzle.  It’s the first film in twenty years from 79-year-old cult director Hellman, and he has delivered a multi-layered riddle that challenges the audience.  There is the story of a crime as it was originally understood, the story of what really happened and the story of a film being made about the crime.  The same actors play the characters in all three stories.  One of the actors in the movie may actually be one of the participants in the original crime.

It’s not a film for everyone.  You must be willing to accept that the story is not going to make sense for a while, and some issues are never going to be resolved.  If you can engage in the puzzle, there’s enough of a payoff.

My guilty pleasures include Hellman’s 1974 Cockfighter with Warrren Oates and his 1971 Two-Lane Blacktop with Oates and James Taylor (yes, the singer-songwriter James Taylor).  Road to Nowhere is far more stylish and ambitious than those films, but far more baffling.

In Road to Nowhere, the director of the film within the film discovers and becomes besotted, even obsessed, with his leading lady – and things do not turn out happily.  I had to think of the female lead in Two Lane Blacktop, Laurie Bird;  Hellman had a relationship with Bird, who later became Art Garfunkle’s companion and committed suicide in Garfunkle’s apartment.

 

Other recent DVD picks have been Tinker, Tailor, Soldier Spy, Poetry, Queen to Play, Kill the Irishman and The Music Never Stopped.