Heartworn Highways

I can't say I'm a fan of country music, but I was really interested in knowing more about this scene. I wasn't familiar with most musicians, I only knew Townes Van Zandt who really, for me, was the best part of the documentary. The other musicians are quite talented, but their lyrics are all about whiskey, beer and wine and having a good time in Texas, which compared to Van Zandt's lyrics, they are just too weak, too shallow. It was funny to see Townes acting all silly and then seeing him play "Waitin' around to die" with such passion and making his neighbor cry. It was disappointing that the documentary didn't show any more footage of him or something deeper about this whole music scene and its roots or context. Instead, it even shows a sequence like a Jack Daniel's commercial and a long pre-show preparation which are almost equal to the time given to Townes, so it kind of feels like an insult. Nearly by the end, David Allan Coe makes the documentary more interesting and emotional, but overall, I think it's almost like a documentary you could just listen to instead of watch.

This film is about the "outlaw" country music movement of the 70s, when artists rejected the glossy, strings filled Nashville sound and made poignant, gritty music. Guy Clark, David Allen Coe, Charlie Daniels and more are featured. Townes Van Zandt really steals the show, though. Out in his ratty trailer he shown drinking whiskey and shooting bb guns. He sits down in the kitchen and plays some songs for his girlfriend and his elderly black neighbor (whose interactions with Townes are amazing) and plays some of the most amazing music you'll ever hear. There are also some great scenes of a little local ensemble playing in a bar. This is a must-see film for fans of Real Country Music. The pop pablum was crap then and its crap now. Real country will live on.

I was fortunate to have been invited to the first screening of Heartworn Highways when it was shown to the New York press in 1981. A young struggling musician at the time, I was mesmerized by the power and soul of these contemporary singer/songwriters. This is what "real" American country music was supposed to be, not the sequin fellas and big haired gals of Nashville. Years later I would have conversations with Guy Clark at the Crow's Nest, a little bar in North Florida frequented by shrimpers and other assorted swamp rats about the "voice" of country music. Who would have believed that these magical music makers would become decades later, the bedrock for today's true country. The director, Jim Szalapski, had been a friend and roommate in my younger days rambling through New York. We lost Jim a couple of years ago and with his passing went the genius that I will be forever grateful to for capturing the soul of American country music. Somewhere on that heartworn highway, Jimmy's still looking out from a Mini-Cooper for a good story to tell. I've waited twenty five years to seen this film again, twenty five years too long.

Put it on, sip some Bourbon, enjoy. Then go listen to the soundtrack. First known recordings of a young young Steve Earle, I believe. Amazing music and interesting to see the way of life for these dudes. I got turned on to this from seeing clips on youtube of TVZ, but watch the whole movie its so worth it.

Shot in 1976, "Heartworn Highways" is a laid-back documentary look at several fringe talents in Country and Western music, who represent something of an alternative to the mainstream of that genre. Pic's strengths lie in its superb stereo recording of the music and its imparting the folksy charm of the performers, but absence of narration or traditional interview material leaves the viewer with little historical background and no way to "place" the artists within the current musical scene.

Director-cameraman James Szalapski does not attempt to dramatize or inflate the importance of his subject, preferring a matter-of-fact approach. The eccentricities of singers Townes Van Zandt and ex-con turned "Rhinestone Cowboy" David Allan Coe come through without any coaxing and yield some light comic elements to interrupt the standard performance-film format.

Besides slice-of-life peeks at rustic types in Nashille's Wigwam Tavern, pic's highlights include a very entertaining and elaborate talk-preamble to a song by Gamble Rogers, several moving folk-like ballads by Guy Clark and a strange performance at Tennessee State Prison by Coe. Music takes on a rock orientation in concert footage of the Charlie Daniels Band.

Both sound and 35mm blowup quality are excellent.

My review was written in April 1981 after a Times Square screening.