Bola de Fogo 500

This is a fairly innocuous little movie. No one rented tuxes for the 1967 Oscars for this one, but then no one is paying large sums of money to suppress it, either. It feels like a "Perry Mason" or "Route 66" TV episode.

For vintage erotica fans, there is a (mostly) accurate portrayal of the "Girlie Shows" that were once carnival staples. Fabian's character, Leander, has a group of young women following him around (Four of them period Playboy Playmates) and there is a seductive (slightly) older widow. The sex and romance is far from explicit (welcome in a movie with Chill Wills in it!) and is generally hinted at with meaningful glances.

For NASCAR fans there are some pretty good scenes of stock car racing 40 years ago, including some of the Daytona 500. Drivers that year apparently were racing for a $85,000 purse. (2006: $18 million).

It's well worth a rental. I bought mine as a two-sided DVD with "Thunder Alley" for under $15, and I feel the money was well-spent.

"Beach Party" leads Frankie Avalon, Annette Funicello, and Harvey Lembeck do what they can with C-minus material involving an ace stockcar racer who gets involved with moonshiners; the Internal Revenue wants him to work both sides, but he's more interested in finding out who's thwarting the midnight runs by playing chicken with the drivers. Barely involving 'grown up' effort from American International, not as good as their later stockcar comedy-drama "Thunder Alley", however Avalon and Annette both get to sing (his number, "My Way" is one of the best tunes Avalon ever got in an AIP film). There's a pretty good brawl between Frankie and Harvey Lembeck, but Fabian, as Frankie's nemesis, is under-used, as is Annette. Good photography by Floyd Crosby, cute opening Claymation segment by Clokey Films, but the story is so muddled we never know where we stand with these one-dimensional characters. *1/2 from ****

Fireball 500 (1966)

** (out of 4)

Dave Owens (Frankie Avalon) is a stock car racer who soon finds himself working for the law who are wanting to know about some country folks running bootleg alcohol. Soon he is also butting heads with another driver (Fabian) over his girlfriend (Annette Funicello).

With the previous year's HOW TO STUFF A WILD BIKINI ending the Beach Party series, AIP needed to put their two leads in a new film so they decided to mix things up. This here is basically a watered down version of something you'd expect to see from Elvis and THUNDER ROAD, the Robert Mitchum film. FIREBALL 500 isn't a complete success but it's certainly more interesting than the last couple Beach Party movies.

The big change here is the fact that this isn't just bubble gum kids stuff. No, FIREBALL 500 has tried to make things a tad bit darker and this includes more drama with the Avalon character who certainly has a great number of flaws. There's also a few darker elements that pop up throughout the film but at the same time there's no doubt that AIP didn't want to get too far away from the "characters" or type of characters that fans had come to expect of the teen idols.

Avalon and Funicello aren't wonderful here but I thought both of them did enough to help keep the film entertaining. Avalon has several songs throughout the film, which really takes away from the "drama" but the songs aren't too bad. Funicello also has one song, although it's not all that memorable. Fabian probably gives the best performance in the cast but Chill Wills easily steals the picture.

FIREBALL 500 isn't a masterpiece or even a good movie but fans of Avalon and Funicello should find it to be light entertainment.

So much about this very quickly drives home the point that 'Fireball 500' and its ilk are borne from the same spirit that gave us beach party movies earlier in the 1960s. As if the fact that this was an AIP film weren't evidence enough, consider the production values, the stop-motion animation and narration that greets us in the earliest minutes, and Les Baxter's original music score - and pop songs that are frequently incorporated (or outright shoe-horned in) just because. The characters, scene writing, dialogue, and even the plot itself are all rather loose, designed for kitschy, lighthearted fun that's distinctly indifferent to any notion of sincerity (and more than a little sexist at times). As great as the appearance is of the costume design, hair and makeup, set design, and vehicles, the visuals all impart the same flavors of cheesy fluff. This goes for the acting, too, and even Floyd Crosby's cinematography (note the regular emphasis of female posteriors). Make no mistake, this is a feature that is easily dated, and to whatever extent it has "held up" since the 60s owes much to open-minded nostalgia and generosity. 'Fireball 500' is marginally more entertaining than its brethren or predecessors, mostly on account of boasting more of a concrete narrative, but to be sure, in 2022 it's quite the acquired taste.

In all fairness, this is a picture that only wants its audience to have a good time. How much mileage one may get out of it will vary wildly from one viewer to the next, but yet it's not half bad. The story is light, but sufficient for building the picture and keeping our attention. The race sequences are well done, including excellent stunt driving - why, I don't even like automotive racing in real life, but the inclusion here is pretty well engaging. Stunts generally are executed very well, not least at the climax. Though the cast is often guided into portrayals that are as ham-handed as the picture at large, when given an opportunity to earnestly demonstrate their capabilities, they surely do. At their best the performances are characterized with fine nuance; Douglas Henderson and Baynes Barron, for example, very convincingly depict G-men Hastings and Bronson as slimy toads, and the more prominent stars like Frankie Avalon, Fabian, and Julie Parrish all embody their parts with suitable enticing personality as scenes demand.

Even recognizing the somewhat hokey construction and likely limited appeal of the feature, this suffers from other flaws. One definite consequence of the overall fun-loving tone is that any story beat that should be decidedly impactful is robbed of its weight. Frankly, where scenes aren't built strictly with the zest of "Hey, let's party!" - well, it's at best a 50-50 guess whether 'Fireball 500' will successfully convey any other feeling. This unfortunately strips the film of no small amount of value; if AIP were trying to be genuine and move beyond the happy-go-lucky nonchalance of its beach party flicks, then the failure by any degree to meaningfully give form to dramatic moments means a failure of that intent. As if cementing the difficulty: while there's real, tangible plot in this, it doesn't come across as entirely convincing, as though director William Asher and co-writer Leo Townsend struggled themselves to be whip up material that bears a more substantial scrap of seriousness. The last third of the movie altogether drags soporifically, more than not.

Warts and all, this is reasonably enjoyable, and I'd go so far as to say that I wish I could like it more than I do. There are many solid ideas in the screenplay, and the cast and crew both put in hard work that pays off in its own right. However, wherever one wishes to place responsibility, there seems to be a lack of comportment between purpose and capability; 'Fireball 500' aimed to be something more and better than those titles AIP made before, yet the end result just doesn't completely hit the mark. Still, there are a lot worse movies you could watch, and if you're open to the more gauche side of cinema, then this might well be right up your alley. It's no essential classic, but if you happen across 'Fireball 500,' it's a modestly entertaining viewing experience.

Fireball 500 was AIP's attempt to attract an older audience (or keep the one that was growing up). Much of the beach gang is still around (Avalon, Funicello and Lembeck) but, except maybe Annette, nothing like their old characters. Add Fabian into the mix as Avalon's nemesis and you've got a strangely serious movie with little music and even less humor. Really, most of the humor (and probably the best acting) comes from Chill Wills as Annette's Uncle/Carnival barker. Rounding out the main cast is Julie Parrish as a rich, slightly oversexed love interest for Avalon. Despite Frankie's attempts, he and Annette are, for the first and last time, not a couple.

The film is typical mid-'60s drive-in fare...cars, girls and music tied together with a mediocre script and passable acting. Due to the difficult nature of shooting and editing a racing film on a low budget, editing and continuity mistakes run rampant. It's almost funnier than the jokes.

When all is said and done, if you gauge it against it's genre it's a likable enough picture. Classic NASCAR fans will enjoy the genuine racing footage with legends like Richard Petty. Beach movie fans may be a little less enamored but it's still an enjoyable look at the end of beach movie innocence.