Gator

Gator, As much as I respect Roger Ebert, I don't care what Ebert says. This is a good film. It is Funny at times, has action, and entertaining for Reynolds directorial debut. Sure there are some mistakes but Reynolds took some chances too, some subtle. Filming the chase scenes on water can prove to be difficult but it came off well.

Jerry Reed did a fine and convincing job as a corrupt antagonist without playing up to a false or cheesy southern stereotype. Lauren Hutton also did a fine job as a fresh face in this film without any clumsy or unnecessary over acting.

The ending is unexpected and without following movie formula as Ebert claims (See book titled, "I hated, hated, HATED this film"). Reed's song was a big number for him after the release of Gator and Bobby Goldsboro's music was beautiful and perfect for the films heart-breaking end. Pure entertainment.

A Sequel to ¨Joseph Sargent's White Lightning¨ follows the adventures of Gator (Burt Reynolds), he's a good ol' southern boy who has served four years of his five year prison sentence for moonshining. Then Gator McKlusky is recruited to gather evidence to convict a corrupt political boss (Jerry Reed) who also happens to be his friend. As agents force a former con man to help them nab a nasty mobster and his hoodlums. Meanwhile, Gator falls for a cool, gapteethed heroine, news reporter Aggie Maybank (Lauren Hutton). Only one man delivers 100-proof excitement!. Come and get him. Gator never strikes twice - 'cause once is enough!. Meet the Bayou's baddest good ol' boy. Take a bite and feel all right!.If You Haven't Seen "Gator" You Haven't Seen Burt Reynolds It's my kind of film. Booze, broads, car chases, corruption and revenge -- all the things that make life worthwhile!

Here Reynolds in his good tough boy role with lots of chases and fighting scenes. This movie was "the earliest in the cycle of hick flicks that Burt Reynolds rode to superstardom" on. The story starts with a tongue-in-cheek he-man opening with a number of motorboats jumping and causing destruction through the swamps and following further bouts of action, but things dawdle to standstill while Burt projects his sensitivity, lazy singalong good nature, and old-fashioned romanticism, he even expresses doubts about his style and inability to cope with independent women. The plot is formula pulp -Burt is blackmailed into exposing a former buddy, now a big-shot Southern crook- but it takes far too long to tell. All through the movie it is evident that Burt Reynolds is attempting to do a little something different with each scene. Sometimes he can't prevent the story becoming bogged down in his own routineness and the violence of the final highlight only just survives its juxtaposition with the previous humor, as roles we have come to like get brutally killed off; in spite of it, the action scenes are first class. It is acceptable and passable film with its ups and downs, but the reasonable cinematography by cameraman William A. Fraker and good action material help. There's also enjoyable musical score from Charles Bernstein, as well as catching songs, such as: ¨Gator¨ written & performed by Jerry Reed; ¨For a Little While¨ written &performed by Bobby Goldsboro and ¨Hey, Country Boy¨ written by Rusty Richards, performed by Dinah Shore . Some of composer Charles Bernstein's music score from this movie was re-used in two Quentin Tarantino movies: Kill Bill: part 1 (2003) and Inglorious Bastardos (2009). The main and support cast are pretty good . Beginning with Reynolds himself, he's very attractive and likable. While Lauren Hutton exudes charm and beauty as a personable news reporter, she creates a very good love chemistry with her partner Reynolds. Country singer Jerry Reed makes a good heavy, he steals the show as the villain who lends real menace and evil to the rather cardboard vice king; Alice Ghostley as a cranky social crusader with a passion for cats and Talk show host Mike Douglas made his film debut in the role of governor, and , of course, Jack Weston as a plump and faintly incompetent federal agent.

First film Reynolds directed, being professionally made. Burt keeps it simple, his direction suggests the makings of a model craftsman. And Reynolds gets uniformly nice interpretations from his actors. Gator chalked up a decent start for its budding director which he hasn't followed through enough. This was the first of the car stunt movies set in the American South that Burt Reynolds made during the 1970s and involved some kind of battle with a sheriff or official. This group of movies includes Smokey and the bandit (1977) and its follow-ups, as well as White Lightning (1973) and its sequel, Gator, (1976). Burt Reynolds went on to direct a few more films for both the big and small screen, such as: ¨Stick¨, ¨The End¨, ¨Hard Time¨, ¨The Man from Left Field¨, ¨Hawk¨ , ¨Amazing tales¨, ¨The Last Producer¨, ¨The Newton Family¨, ¨B. L. Stryker¨, and ¨Sharky's Machine¨ at his best. Gator(1976) rating: 6/10. The film will appeal to Burt Reynolds fans.

This 1976 sequel to Burt's successful good-ole-boy movie WHITE LIGHTNING doesn't represent its star in peak form--as actor or director. (The picture was uncreditedly co-directed by James Best, star of several Sam Fuller movies; he didn't learn much from the old man.) But it's memorable for one reason only--for the guy who, for my money, takes the cake for Greatest Character Actor of the Seventies Gone to Waste.

Jerry Reed is best known for his novelty songs and his appearances in bumptious comedies like HOT STUFF (opposite Suzanne Pleshette and Dom DeLuise). But look at his chillingly suave downhome hit man in Michael Ritchie's THE SURVIVORS, or his magnificent performance here, and you see the man who should have had Tommy Lee Jones' career.

As Bama, a dirt-poor boy made good as a pimp and a gangster, Jerry Reed has the kind of unnameable connection with the audience that other singers-turned-actors like Sinatra and, on occasion, Willie Nelson had. His Bama never lets you forget the tin-shack fate he overcame through a life of peddling sin: he's like the redneck star of his own blaxploitation movie playing in his head. The smoothie charmer who can turn sadistic-violent on a dime is as ripe an opportunity for ham as they come, but Jerry Reed is genuinely seductive and chilling--and Reynolds hands him scene after scene to steal. The guy was a great actor--and he never got the chances that a similar (and less varied) actor like Charles Napier got.

If someone's reading this has the opportunity--give the guy a job.

I am not a man of many traditions, but I like to keep the few ones that I do have intact. One of those traditions is that I pay tribute to a deceased actor or director by watching one of his/her movies as soon as I hear the sad news. Burt Reynolds died on 5th of September 2018 and, although he's far from my favorite actor of all times, I do feel an honoring is in place since titles like "Deliverance", "White Lightening", "The Cannonball Run" and "Smokey and The Bandit" are nevertheless favorites of mine. Reviewing "Gator" is even a bit of a double tribute, since the film also marked Reynold's debut as a director.

"Gator" is exactly what you expect a pulpy and trashy sequel to the 1973 semi-classic "White Lightening" to be like, except that everything now revolves even more around the hunky & cool persona of illegal liquor runner Gator McClusky. Freshly released from prison, Gator is forced by a New York DA to help apprehend his former childhood buddy Bama McCall, who's now a big-shot Bayou crook. Gator is initially reluctant to betray his old friend and sabotages the operation, but when he finds out that Bama has become a relentless gangster who runs mafia-like protection rings and forces underaged girls into prostitution, all his sympathy quickly vanished. Like "White Lightening", the tone of "Gator" is also primarily light-headed, but with many raw and dark edges as well as unexpected moments of extreme violence. The typically hillbilly-soundtrack and the speedboat-chases through the Bayou swamps are comical, but Bama McCall's sinister henchmen and their gangster practices are grim and more reminiscent to the dark and uncompromising type of 70s grindhouse/exploitation cinema. The role of Jerry Reed is particularly and utmost surprising! I previously just knew him as a country-crooner (he also sings the title song) or as the jolly but harmless sidekick (for example in "Smokey and the Bandit") but here Reed depicts a truly evil guy with a nasty shotgun and intimidating helpers. His lieutenants are a scary giant named Bones, so tall that he has stick his head out of the open roof when driving a car, and a perverse creep named Smiley (you'll see why).

Reynolds occasionally demonstrates that he holds the potential of a competent director, and "Gator" is overall good entertainment, but the film is too long and especially the romantic interludes between Gator and love-interest Lauren Hutton are too tedious and interfere with the explosive action & spectacle during the finale. Throughout the 70s and 80s, it seemed like Burt Reynolds had a fun career with a few classics and a quite large number of genuine crowd-pleasers. He made a remarkable comeback in the 90s, with a few hits ("Boogie Nights") and more misses ("Striptease", "Cop and a Half") but always kept his Bayou bad-boy coolness. Rest in peace, Mr. Bandit.

"Gator " marks a time in that there were not limits for the pleasure, for the happiness and for the adventure! this film is a typical turn to the seventies, and it has as the protagonist the star who reigned absolute for this time and who is finally returning: Burt Reynolds. Seen today, of course " Gator " seems a simple film and with a weak story, but if we analyze the context of the time in what it was done, Gator " is memorable and, without a doubt, an entertaining film and that deserves to be watched! Burt Reynolds offers all his charm, all his talent, interpreting Gator McKlusky, a scoundrel who is forced by the policemen to infiltrate in the criminal organization of an old childhood friend, and discover evidences that will lead him to the prison. Jerry Reed, another great icon of the seventies, is excellent as Bama McCall, the boss of the organized crime who seems to be owner of the south of Florida, Lauren Hutton was never so pretty and nice, particularly in the scene in what she and Burt Reynolds are talking at the beach, at night, near of a bonfire. Gator " is a celebration of a time where everything was simpler, truer and tasty, it is a memorable and efficient film that, even after so many years, preserves the tension and unforgettable scenes . Watch " Gator ", it is not the best film of Burt Reynolds career, but it is one of the good ones!