La ley de la montaña

Decent if unremarkable drama of a moonshiner and the feds who are trying to shut him down. A real study in star power with Robert Mitchum commanding the screen with seemingly little effort. An interesting contrast can be made between him and his son James, making his screen debut here, their appearance is so similar that you would think their performances would have a hint of the same similarity. The senior Mitchum owns the screen with an easy charm and magnetism while the young Mitchum is stiff with a vacant stare. Keely Smith contributes a couple of terrific numbers sung in her unique style but she also comes across as uncomfortable and mechanical in any scene which doesn't require her to sing. A huge drive-in hit in its day, it's easy to see why since it has a very laid back, low budget feel.

I was 14 when I first viewed "Thunder Road" at a local drive In in North Georgia. It was in June 1958 after the movie was released in May of that year. The movie was an immediate smash hit with viewers that night, many of whom were in the "whiskey" business and who had taken the night off to see the film. After the show the exit from the drive in was blackened by the burning rubber left by many of the patrons leaving the premises, several of whom owned "whiskey cars" of equal or greater horsepower than those in the film. Since that night I have seen the movie many times and it always brings back great memories of the era. 2007 will be the 50th anniversary of the filming of the movie and 2008 will be the anniversary of its release date. Wouldn't it be interesting if someone or some company put together a 50th Anniversary Thunder Road event like the recreation of the cars in the movie along with special appearances at regional car shows, complete with car magazine articles and perhaps even a road test of the vintage autos. The re-release of the DVD to include the out takes would also be popular. Who knows what MGM and NASCAR could do with a team effort? WHB

Thunder road. just the name brings back memories of being young. My dad's favourite movie is thunder road and he used to sing the song when I was young. He had the 45 of the ballad of Thunder road sung by Robert Mitchum. When the film was released on VHS My mom paid a $110. for it. the whole family sat down and was hooked and my dad was transported back to 1958. The film has a honest and touching quality about it. The people in it react as real people would.

The story is simple and that's part of the charm.

Lucas Doolin is home from the Korean War. Filled with a death wish. Luke drives his father's moonshine to the buyers. It's a dangerous job. the Mob is out to shut them down by any means needed. and the Tresury department is out to shut down the mob and the moonshiners. When drivers start getting killed and some drivers are arrested the pressure is on. only one driver is brave enough or reckless enough to keep running and that's Luke. Despite pressure from his mother and his father and his lover to quit. Luke just can't bring himself to quit. The recklessness of it gives him a thrill. Plus he doesn't like to be told what to do. When the mob boss contacts Luke and asks him to work for him Luke declines even though he knows it means a death sentence. When the Boss tells him if he can't get him then he'll get his brother Robin to drive. Luke beats the man and warns him. That No one will ever make a whisky runner out of his brother he'll kill the first man that tries. When one of Luke's cars is tagged as a whisky transport Luke sells it to a friend and buys a new car. When his friend dies in the old car the victim of a bomb meant for Luke he knows his time has run out. Trapped between the Mob and the G-Men Luke makes his last run and his last stand on Thunder Road. The Movie's influence is pretty far reaching Bruce Springsteen named one of his songs after it even tho he never saw the film. Steve Earle rewrote it as Copperhead Road his biggest hit song to date. And Burt Reynolds made a career out of his whisky runners in the 70's. And to this date it's been well remembered as the king of the drive in pictures. Tough gritty with some romance and a lot of action. The acting is decent. And Robert Mitchum can forever lay claim to the title of the king of cool after making this movie. This is the Movie that Steve Mcqueen could only dream of making !

Filmed in 1957, and sent to theaters in 1958, it had the 'Rods' of the day. This was a film of youth, and wild rebels. In some ways, you had to be born then to understand it. I saw it for the first time at the Flying Cloud Drive-In. Siting in a 1951 Ford Custom with a full race flat head engine, and my best girl at my side. Three duces, Lakers, and overdrive trans. The car, not her. To this day I can close my eyes and hear the the high pitch voice singing the theme song. "Let me tell the story, I can tell it well, 'bout the whipperwill that drove...", well you know the song if you have seen the movie.

Imagine a drive-in filled with 'Rods'. On the screen you see a 50 Ford, with its lights out, driving down a dark country road. A 57 Chev pulls out from a hiding spot and gives chase. All heck lets loose, not on the screen, but in the drive-in. Fifty 'Rods' rev their 'Mills' with the Lakers open. Flames shoot from the pipes, and the noise pounds in your guts. Outside the drive-in 20 cops are waiting for the movie to end, and play time to start. Have this picture in your mind? That's the way it was back then. The movie showed a 50 Ford front clip on a 51 Ford. The inside view of the car shows a 51 dash. I spotted that when I first viewed the movie. The 57 Ford, that Bob drove later in the movie, had a 312 supercharged engine. I know that engine well. I had to get one after I saw the movie. Oh, and the car to go with it. Bootleging is not a southern exclusive. I grew up in a small town in Minnesota, and we had 'shiners, and 'runners here. Minnesota 13 was the 'shine of the Volstead Days. Sorry, I forgot what this is all about, and no, I will not say if I did any of that. All my friends knew the song by heart, and we would sing it all the time. Bad guys drove Chev (Feds) and the good guys (Runners) drove Fords.

Simple, plain, and all 1950's. Lots of bad acting. Lots of continuity errors. Lots of hot cars. Lots of great action shots. A great title song. Look, if you were not born then, you have to see what Grandpa and Grandma made out to when they were young. No Drive-ins are around today. My 2002 Thunderbird has computers that limit my speed. I still know all the words to the song. I can still close my eyes and hear the roar of the 'mills', and see the flames from the Lakers, today. I still wish it was 'way back then', and 20 cops were waiting to play. "And when his engine roared, they called the highway Thunder Road"

Whatever the film lacks, which is a lot, focus on the imagery -- duelling hotrods, a dangling cigarette, and country two-lanes, along with a precious load of illegal booze, family honor, and a good woman. This is movie myth-making at its near purest, so what else could a ducktailed Elvis- clone of the 50's have wanted. Girls may have swooned over treacle like "A Summer Place", but hot-rodders packed this drive-in classic bumper to bumper. Sure, it's badly produced ($50 budget, tops), badly acted (even Mitchum struggles with the hopeless Keely Smith), and features one of the worst canvas backdrops on record (the water-wheel scene). Still it has the King of Cool gunning down the asphalt (don't let the sleepy eyes fool you), pits rugged individualism against angry collectivism (organized crime and big govn't), and opens with a throbbing title tune (composed and sung by Mitchum) -- topped by a look and feel unlike the usual Hollywood contrivance. And who can forget those forlorn headbeams searching their way through an existential void. The imagery was compelling and caught the edgy mood of a drive-in crowd feeling their own way through a world of teenage angst. Few would grow into the mythic shoes of road-warrior, Luke Doolin, but a lot sure wanted to try. Which is why this primitive slice of small-screen black-and-white continues to resonate, even into the big-screen myth-making of souped-up starships, evil empires, and computerized magic.