Ein Supertyp haut auf die Pauke

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

I saw this movie when it first came out and enjoyed it from the opening scene. The sounds are so grounded in country it is had to explain to someone who has never lived in the south. Regardless, this was a production worth the money and found no reason why it did not take off at the box office. Jerry Reed is great, Don Williams is superb and Connie Van Dyke did the best she could do and for me that was enough. Of course I have always liked Richard Hurst especially as the father to Michael J. fox in the Werewolf movies he made. Art Carney, what can you say about this man, always puts his soul into a performance and he surely did that in this one. I have attempted many times to purchase a copy of it and could not locate it so if any one may know where I might buy a DVD of this great movie please let me know.

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 & "White Lightning" are my all-time favorite Burt Reynolds films. this is at the height of his comedic, feel-good roles. Not many actors are as likable as Burt, which makes this goofy film a treat. Burt plays W.W. Bright, an ex-S.O.S. gas station employee who goes around robbing his old employers. A conman & loner, well at least he was before he ran into Dixie & the Dancekings. Pretending to be a Nashville music agent, he gets tangled in lies & cons, & before too long he gets attached to the band. Now he'll do as much as possible to help them out. Lots of fun!

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 ****