W.W. and the Dixie Dancekings

Director John G. Avildsen fit this low-keyed comedy in between his "Save the Tiger" and "Rocky" ("Tiger" screenwriter, Steve Shagan, served as executive producer here). It's a Robin Hood-styled anti-hero story with musical asides and a distinct feeling for the south in the late-1950s (the nostalgia for the era isn't laid on with a trowel, and the evocative milieu is very loose and natural). Thomas Rickman's screenplay tries for originality in its characterization, though the movie's charms lie mainly in the impeccable casting, the filming locations, and in the colorful detail (Avildsen shows a gift for throwaway pleasures and minute, happy bits of business). Burt Reynolds, grinning up a storm, is on the run from the law after robbing a series of filling stations with a water pistol; he takes up with a traveling country-western band for a cover, but slowly begins to appreciate the friendships he makes there. Conny Van Dyke's Dixie, the band's singer-guitarist, is a marvelous creation (and the actress nearly upstages Reynolds in the bargain), however Art Carney's Deacon arrives too late (when interest in these adventures begins to flag). It isn't a terribly memorable (or even successful) picture, however there are moments scattered about that work a little ramshackle magic. ** from ****

this film has such a mediocre rating. It's a fine night's entertainment and it takes us back to an earlier time in country music before every big and medium-size city had its country station. The important thing is not to lose patience during the first half, when it seems like it will be forever before they get their act on the road, and pay no mind to the back story about the Southern Oil Company....in fact the 'hold up' of the bank really doesn't fit the rest of the film, it is almost too surreal, like Burt's Olds. Reynolds comes off like the poor man's Sam Phillips, getting these crackers onto Grand Ole Opry, and that moment when he spurns Van Dyke's advances as he hears the boys launching into something that sounds like music is stirring.

That era is gone, but treasure the final scenes when Art Carney's car radio pulls in sounds from the ether that you won't hear today on the airwaves, where every voice comes out of broadcasting school. Rate this somewhere about 7 on a scale of 10.

This is one of my guilty pleasures. I enjoyed this movie for what it was. A film that's fun to watch. The secret seems to be a good cast. The story is not very deep. Rent it---if you feel like some southern fried fun

In some ways, this is two different movies. Burt and Jerry getting back to their roots with Connie and the girls putting together the act and doing a bucolic type of road movie. The first part of the movie works well because of their chemistry with each other & with Conny Van Dyke.

Then Art Carney takes over the film, the pace quickens, wry humor and conflict push the down-home charm to the back burner. That's okay because Carney is on his game and delivers a terrific performance as a self-righteous and determined lawman. And, Burt seems to turn his energy up two notches when Carney shares the screen with him.

And, without giving anything up, they saved the best for last. The ending of this one is an all-time classic.

It's a Burt Reynolds showcase. He plays the charming rogue to the hilt, a perpetual grin on that care-free mug. As the rootless WW, he tools around the South in a flashy car, sticking up gas stations in, yes, friendly fashion. However, it's really one of those big corporations, viz. SOS, that he picks on since he's got a grudge against their heartless ways. But then he hooks up with a promising hillbilly band The Dixie Dancekings, promoting their career in his inimitable way. That is, when he's not sticking up SOS banks, again,in friendly fashion. But the big boys in suits don't take kindly to his spree. So they sic a Bible spouting gumshoe (Carney) on his trail, a Deacon in black who looks like he's practicing for the Evil Dead.

I expect a movie like this, filled with Southern stereotypes plus Reynolds smashing his share of hot cars, is mainly a matter of taste. But I found the general goofiness hard to resist. It's a perfect role for Reynold's brand of leering charm. At the same time, it's an uptight Art Carney, a million miles from his good-natured dimwit Ed Norton of the Honeymooners. Of course, there's the usual amount of car bashing and Keystone Cop car chases for a Reynolds movie. Plus, I really like the slow, engaging way WW takes over the fortunes of the Dixie Dancekings. You just know they'll make it big, but will the non-musical WW with the Deacon on his trail.

All in all, the movie's an entertaining 90-minutes of Reynolds nonsense, despite my better judgment.