User reviews

Peck does a nice job playing a middle age crazy sheriff who meets and goes over the edge for a rawboned hillbilly girl. He has a decent, loving wife at home but his discontent with his life leads to his making one stupid mistake after another in not only his private life but his professional as well. Well played out film with top notch performances by the entire cast and a sound track by Johnny Cash which intertwines nicely with the picture.

The subject of small town boredom and emotional unrest; Gregory Peck portrays the sheriff in a small rural Tennessee town. He has a mid-life crisis(before it was fashionable to call it that).

Estelle Parsons is the long-suffering wife, and Tuesday Weld the femme fatal. There is also a part with Charles Durning, as a racist small- minded police officer, who feels his job is to run everyone out of town who is not a "good church-going man". Some of the dialog and themes explored in this movie are interesting, and if one has ever traveled to this part of the country, there are still small towns a bit similar to this, even though they may now have a Wal-Mart 100 miles away.

Gregory Peck's performance is excellent, though his involvement with a penniless moonshiner's daughter is a bit hard to swallow. You will enjoy the cinematography, and a depiction of American life which does still exist. This film is not as extreme as "Deliverance" but if you drive along Route 26 through North Carolina and Tennessee mountains, you will still see people living without heat, with plastic on their windows to keep out the cold.

Underrated, overlooked gem from director John Frankenheimer has Gregory Peck in fine form playing Tennessee sheriff and family man in a depressed hillbilly town falling for Tuesday Weld, the comely daughter of a moonshiner. The sheriff, torn by sexual longing and responsibilities--and throwing all morality out of his path--strikes a subtle arrangement with the mountain clan to continue seeing their daughter if they keep their business under-wraps...but is this girl just stringing the lawman along? Frankenheimer bookends the film with a collage of sorrowful faces (scored with music by Johnny Cash) and the effect is a bit pretentious (it seems like a put-on); however, the director's dramatic compositions (helped immeasurably by David M. Walsh's superlative cinematography) overcome this arty overreaching and actually take on some meaning. Alvin Sargent's screenplay, adapted from Madison Jones' book "An Exile", is literate and engrossing, and the obtrusiveness of that stilted opening (as well as Cash's songs, pushed too far out in front) can easily be forgiven. Sexual obsession wears surprisingly well on Gregory Peck, and when he asks Weld to run away with him, you believe it. Both performers are terrific (even Peck's arched eyebrow and granite jaw work well for him here) and the supporting cast is equally solid. Atmospheric and charged with emotion. *** from ****

I happened upon the film on French television. It was very well done. Gregory Peck gave a wonderful performance. The changes in his character and his anguish were felt. I was impressed that in 1970 there was a nude bedroom scene. I did compare it to Damage with Jeremy Irons and what they visibly display nowadays. G.P. and Tuesday Weld did a great job without that display. Ralph Meeker was a charmer as always. It does not require an R rating. The incest was suggested in a subtle fashion. Albeit an eerie moment. The photography was very interesting. I am not a Johnny Cash fan but his music was fitting. Loved the film. Azignon

Above average movie about a moonshiner using his Daughter to keep the law off his back by using her to strike up a romance with the local sheriff (Peck). Strange role for Peck who normally plays a champion of the people, but Peck does a great job at being taken in by this moonshiners ruse.

Gregory Peck is rather strangely cast as the sheriff of a small Tennessee town who obviously never saw Tuesday Weld in 'Pretty Poison' or he would have given a wide berth indeed to her as the big screen's latest middle aged-man (Emil Jannings, Hugo Haas, Jimmy Stewart in 'Vertigo') to come a cropper through his infatuation with an enticing young blonde.

Well acted (including flavourful contributions from a touching Estelle Parsons and and a malevolent young Charles Durning) and enhanced by excellent photography and a vivid sense of locale, "The picture I made", Peck later lamented, "was a much better picture than the one that showed up on the screen", as it was insensitively recut after it previewed badly; with the Johnny Cash songs added in the process, presumably to evoke memories of 'Bonnie and Clyde' and 'The Graduate'.

A totally under-appreciated and unseen film (except for some Gregory Peck fans) with Estelle Parsons and Ralph Meeker and the glorious totally bashed actress (in movies since age 12) and this is AFTER Pretty Poison, a witty and insightful script directed by (apparently a one-shot guy, Noel Black) that nobody got to see!

1970 was a great year for films and this didn't make my top TEN, but it's very interesting...with a moral that actually plays out in a semi-realistic and human AMERICAN way, but unfortunately, it was considered drive-in fare by whatever studio released it. Try to find this one. It's like Deliverance combined with Love with the Proper Stranger and it's quite unique, mainly because of Tuesday Weld's performance. An 8 out of 10 in a very good year. Best performance = T. Weld.

Not to be confused with the 2005 biopic of Johnny Cash (although the soundtrack features several Cash songs), "I Walk the Line" (1970) stars Gregory Peck as a taciturn Appalachian sheriff who suffers a mid-life crisis and falls for some pretty young thang (Tuesday Weld), the daughter of a generational moonshiner. The sheriff turns a blind eye and everything's fine, but for how long?

You can't go wrong with Gregory Peck. Although I've only seen about a dozen of his movies over the years he's always been an unvoiced favorite of mine. He's tall, (seemingly) noble, masculine, likable, determined and just has an unshowy star quality. Here he plays his usual self with the exception that, facing a mid-life crisis, he makes dubious choices and hurts those connected to him.

Tuesday Weld was 26 years-old during filming and is easy on the eyes. Her character maintains a naive quality even though what she does is wrong. I suppose you could say she's more ignorantly amoral than malevolently immoral.

The film was shot in the beautiful Appalachian hills of North-central Tennessee. The courthouse square scenes were shot in Gainesboro, but the dam scene that opens the movie (and is shown again later) was shot at Center Hill Dam. The Drive-In movie sequence where they are watching the 1969 Jerry Lewis movie "Hook, Line and Sinker" was shot at the Green Hills Drive-in in Carthage (hometown of Al Gore), about 45 minutes from Gainesboro. During the production Gregory, Tuesday, director John Frankenheimer and other cast & crew members stayed at the Holiday Inn in Cookeville, TN. All the buildings in Gainsboro are still there (including the pool hall) except the first store that was cattycorner to the courthouse (where the sheriff shops), which was torn down. A small portion of the film was also shot in Northern California, in a little town called Colusa, the seat of Colusa County, but I can't tell which specific scenes. Much of Colusa's architecture has a very Southern influence and has been featured in a number of movies.

I like the moral of the story: One's actions have a ripple effect -- foolish choices will inevitably hurt not only you but those linked to you, just as right choices bless you and others. On that same note, the film effectively shows how a formidable upstanding man can be reduced to a loaf of bread simply by unwisely falling prey to the temptation of some young cutie.

The story plays out in an ultra-realistic manner like other films of the 60s and 70s before the brainless "blockbuster" came into vogue. This isn't a negative to me because I actually prefer realism but others might not appreciate it, especially the flat vibe of of the first act, but the story picks up steam in the second act and holds till the end.

Some don't like the film because the usually-noble Peck is playing a sad and lonely transgressor. This is against type and perhaps explains why Peck took the part; he was 53 at the time and likely saw the role as a challenge. Here was an opportunity to play a character who is neither a hero nor anti-hero, a character who feels trapped by routine and meaninglessness, who makes a desperate and ill-fated attempt to drag himself out by means of his lust for beauty, the one thing that makes him feel alive again. Peck rose to the challenge admirably but this naturally has the negative effect of stirring disrespect, even loathing, in the viewer.

"I Walk the Line" is a good flick that was never acknowledged and seems to have been lost over time. It's along the lines of the contemporaneous "Deliverance" albeit without the sexual perversion and more on the dramatic & mundane side and less of a adventure.

The film runs 1 hour, 37 minutes.

GRADE: B.

As denoted by its title I Walk The Line is distinguished by its use of a country music soundtrack supplied by Johnny Cash. Because Cash's biggest hit was used as the title of this film, the fine biographical film that starred Joaquin Phoenix many years later had the 'I' cut from the title.

Gregory Peck with the exception of an occasional rogue as in Duel In The Sun usually is the most upright of moral heroes. His very uprightness is turned on its ear in I Walk The Line with a plot that somewhat resembles The Blue Angel. Peck is the local sheriff who has been ordered by Federal Man Lonny Chapman to clean out a nest of moonshiners. He makes it clear he wouldn't do that on his own as these people supplement their very existence from the untaxed alcohol the sell.

But then Peck is given a really good reason not to pursue one of these families. He's going through the usual forty something midlife crisis and when he stops Tuesday Weld for speeding, the little hillbilly tramp really sparks his engine. With the connivance of her moonshiner father Ralph Meeker, she and Peck go at it hot and heavy. He uses his official position to cover this family up and it all ends really badly for Peck. Director John Frankenheimer does leave Peck's fate as uncertain at the end, but the viewer will not think of any good options for him.

Mixing films like The Blue Angel and Thunder Road doesn't quite jell. Tuesday Weld is certainly one seductive sight, but somehow I could never wrap my mind around Gregory Peck falling for her. Maybe then we're all vulnerable, even Atticus Finch.

The film didn't do much for the careers of the folks behind and in front of the camera. Then again Peck was not getting too many good film offers at this point in his career. But if you like Johnny Cash this is your film, his singing is the best thing about it.

This is a very good film. Tuesday Weld and Gregory Peck give great performances. Never has Peck's 'stiff' style of acting been better suited for a role. He is wound so tight in this part it seems like he will explode any minute. His eyes and silent desperate yearning when he is looking at the truly beautiful Weld tell's the desperate needs of the man he portrays. Any man above forty will feel his pain and desire...and many his ultimate heartbreak. The original sound track by Johnny Cash is pitch perfect. The last scene of the film is truly remarkable and heartbreaking although it can be seen coming from the opening credits. This maybe Peck's most under-rated performance and Tuesday weld's best.

Tuesday Weld a Tennessee gal? I don't think so. Johnny Cash's music is the best part of this movie. Gregory Peck's portrayal of a good man in a mid-life crisis pushed to the edge of reason convincing, but looking at this film as a depiction of real Tennesseeans is not very accurate. My people are from East Tennessee and many ran corn liquor in the 30's and right on up into the 80's. Are there folks who still live in tar paper shacks with no running water up in the hollers in East Tennessee? Yep - I've been there. But they are the friendliest, most hospitable, smart, caring, hard working people - so much more than the caricatures these movies perpetuate. Remember that when you watch Deliverance,Thunder Road, Lolly Madonna War, etc...... all interesting movies - but one-dimensional portraits of southern folks.

this is just my own personal opinion,but i found this movie very slow.there's a lot of drama,but not much action.Gregory peck plays the sheriff of a very sleepy town,where almost nothing happens.then he does something which goes against his morals.he ends up paying for it in the end.Tuesday Weld also stars in the movie.i watched this movie right to the end,though i found it hard to keep going.John Frankenheimer directed the movie,and if you like his style of movie making,you might like this movie.for me,though,i didn't like it that much.i've seen much worse movies,but i didn't feel invested in this movie or the characters.anyway,if you don't mind drama,and aren't concerned about a lot of action,you might like this movie. 4/10

There's a good movie buried somewhere inside the rather aimless screenplay. Unfortunately, the results look more like a frozen-face Peck showcase than an engaging narrative, and one I doubt that he treasured.

Anyway, what's going on with stiff-backed southern sheriff Tawes (Peck). Clearly, he's bored with a dutiful wife, a routine family life, and an unexpectedly quiet professional life. Maybe it's also because of the remote and church-going southern county he officiates over. But then he meets Alma (Weld), daughter of the county's only law-bender, the illegal whiskey-making McCain family. Now he happily sees a way out of boredom.

Pairing an aging, expressionless Peck with the likes of teeny-bopper, sex-kitten Weld does remain a stretch. But then it is the immensely cuddlesome Weld who's wrapping her arms and puckering her lips, so what guy could resist, even a repressed Sheriff Tawes. Now, the nub of a good plot is whether Alma's just using the uptight sheriff despite her apparently sincere behavior. After all, her father's an illegal whiskey distiller in a shack where she lives with her dependent brothers. So, is Alma merely conaiving to use the smitten Tawes to overlook her family's illegal behavior. Unfortunately, the 90-minutes fails to play up this promising kernel, while actress Weld shrewdly gives no indication of hidden motives. But instead of this attention-getter, the screenplay gives us a lot of scenic roaming around the hills, while hot cars bullet roar around the back roads. That helps, but doesn't compensate.

What the flick does have is a good look at the impoverished shacks and countryside of the rural South, about as far from Hollywood Blvd as you can get. There may be a studio set somewhere in the mix, but I sure couldn't spot it - good for director Frankenheimer.

Anyway, except for die-hard fans of Peck, and hormonal-driven fans of Weld like me, there's little reason to catch up with this 1970 Columbia entry, despite the talent involved. Too bad.

I Walk the Line (1970) is currently available on Tubi and tells the tale of a an unhappily married sheriff who falls in love with a young lady. He doesn't know the young lady is playing him so her family can get away with bootlegging. As the sheriff gets more and more serious about the romance, his plan and the family's plans will come to a head and one of them will fall apart. This movie is directed by John Frankenheimer (Manchurian Candidate) and stars Gregory Peck (To Kill a Mockingbird), Tuesday Weld (Falling Down), Estelle Parsons (Dick Tracey) and Ralph Meeker (Dirty Dozen). Peck is fantastic in this as the sheriff. He does a great job of portraying his sternness, vulnerability and internal struggles. It was tough seeing his character taken advantage of. I did like the settings and the solid depiction of the poor family's home and lifestyle. That entire family's chemistry is well delivered and executed, even if they were annoying at times. The films Johnny Cash soundtrack was also very good. Overall, this is far from one of Peck's best films but it is entertaining and worth a viewing. I'd score this a 7/10 and recommend seeing it.

(Flash Review)

An upstanding rural sheriff is cracking down on some local moonshiners. Within that group is a young lady who he becomes quickly infatuated with despite being a family man. This young lady immaturely encourages his behavior yet does she truly feel the same for him? How will he walk the line of busting their moonshine operation while also prying the lady away from her kin? And in a small town how will he manage his family with his inappropriate infatuation? The film's follows the 70s era loose plot narratives with sharp and grimy shot framing. The actors nail the range of genuine emotions. This is a strange little small town sheriff character study that Gregory Peck nails. See if he gets what he desires.

Tale of a Mid-Life Sojourn of a Married, Church-Going Southern Sheriff and His Fascination with a Young Adult of the Tuesday Weld Variety, Falls Short of its Intentions.

It Tries Hard to Penetrate the Woodsy Moon-Shining, Squatter Life-Style of a Family of Drifters and a Conservative Law-Enforcement Leader in Rural America.

This Type of Thing Became Common in the Late 1960's. "Walking Tall" (1973) is a Good Example.

But the Director Oddly seems Lost in the Expanse of Mountain Folk and Government Revenuers.

It's an OK Peek at a Slice of Americana, but the Movie is too Short to Amount to Much.

Has its Moments, with Estelle Parsons and an Unrecognizable Ralph Meeker Adding a bit of Gravitas to the Story.

As Does Charles Durning as the Deputy.

But too much is Left Unsaid and Glossed Over and the Weighty, Controversial Affair between Peck and Weld is Shallow and Not Fleshed Out.

The Moonshiners vs Govt. Story is at First Played for Laughs and then Goes Nowhere.

The Climax has some Edge and is a Suspenseful, Violent, and Visceral Conclusion, but Overall the Movie Misses the Mark.

Worth a Watch with Low Expectations.

I own this movie and have watched it many, many times.

In my opinion, it is one of the best, and perhaps least touted, of Peck's works.

I cannot help but think that the scenario portrayed in this film has played out many times in real life.

Peck delivers a 5 star performance of a man of strong moral fiber, driven by the desire to abandon all he has that is right, in pursuit of what he wants, and deep down inside, probably knows he can't have.

Highly recommended and truly a treasure in my library. If you can find it...you won't be sorry.

Not sure why this one barely gets the recognition it truly deserves.

Drama, suspense, and surprise at it's best !!!

Hollywood usually has to go over the top, with an unrealistic plot. This one fits well in it's setting. You get the sense of the poverty has been town, and the typical human responses. I Do not think this is Gregory Peck's worst movies, I would say a very good small town drama movie. The snarky deputy, the Slimy Federal agent, the slow pace town folk, a good drama overall, and I like the way it unfolded.

This John Frankenheimer movie presents a low-action, sparsely-populated story about a married Tennessee county sheriff (Gregory Peck), who falls in love with a young girl (Tuesday Weld). Weld's father (Ralph Meeker) and younger brothers are illegally operating a still as a family business that probably goes back for decades and may go forward for decades more. The movie also stars Estelle Parsons as Peck's pathetic wife and Charles Durning Peck's as his deputy.

This movie does not live up to the Frankenheimer standards that I learned to love from his early 60s black and white movies.

The best part of the movie was Johnny Cash's singing of the title song.