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.

Arthur Ripley directs this cult classic crime/Noir. War vet Robert Mitchum returns home to ramrod the family moonshine business. This hard headed bootlegger takes on the Feds and the Mob while burning the roads in his whiskey laden hot rods. If that is not enough, he must keep his young brother(James Mitchum)from moving up from mechanic to driver in the family business and then there is the romancing of a Memphis chanteuse(Keely Smith). Also in the cast are Gene Barry, Sandra Knight and Jacques Aubuchon. Bob Mitchum produces, and takes partial writing credit plus writes songs for this evocative glimpse of southern culture. Mitchum also oversees his younger brother's film debut.

NOTE: It is said that Elvis Presley enjoyed this movie so much he memorized bad Bob's lines of the script.

From the opening scene of a 1950 Ford coupe racing along a mountain road to the closing crash of a 1957 Ford - yes that must have been the product placement company, along with the tobacco industry, but the cops get around in great 1957 Chevy Bel Airs - this movie has plenty of involving drama centred around a guy who acts as a transporter for moonshiners. The female characters and the acting are weak but handsome Robert Mitchum keeps it all together in between the action sequences. Technically it ain't too bad, but there are obvious continuity problems. One scene between the younger brother and a law enforcer starts out and ends on location but there are a couple of minutes of dialog that are obviously filmed in the studio - even in 1957 this surely could have been done a little better.

I was 5 when this was made, but the first time i saw it I must have been 9 or 10 - I will never forget the electric-feeling charge that went through me that first time. When viewing the movie today, one has to keep in mind the period in which this movie was made. It looks and feels dated.

Being a car nut even at that young age, I started paying close attention when i saw Lucas Doolin's 50 Ford flying around a curve with a 57 Ford carrying two G-men on its tail. Just when it looks like he's about to get caught by a bumper clamping device on the front of the 57, he activates a lever that releases the rear bumper of the 50 Ford and leaves the G-men sitting there holding nothing but a bumper.

With a cigarette dangling from the corner of his mouth, Robert Mitchum as sleepy-eyed Lucas Doolin seems utterly cool and totally unafraid of anything that stands in the way of his way of making a living, which happens to be transporting illegal liquor. Everyone in his small community of Harlan seems to either look up to him or be envious of him. The scene where Gene Barry walks up to him after a chase and boxes Doolin and the 50 Ford in is classic. Realizing he is caught, Mitchum sits in the car, shuts off the engine, lights a cigarette and leans back in the seat. Barry walks up, leans over to the window and says "I believe I have a bumper that belongs to you." Mitchum nonchalantly replies "Well, why don't you give it back? That's like stealing, ain't it?"

I last saw this about 5 years ago. I would have been 46 then. It still excited me then. I guess it always will.

THUNDER ROAD opens with a bang! A bumper snatcher (Government car that rips back bumpers off the cars they chase) grabs the plate off the hot rod belonging to the most sought after moonshiner in the business, Lucas Doolin. Doolin is probably the coolest Robert Mitchum performance. With his sleepy eyes, he slaps around the rival moonshiners, basically tells the ATF boys they'll never get him, tries to keep his younger brother (Played by Mitchum's 17 year old son, Jim.) away from the moon business. The film has a real charm to it, basically because the film never sneers at the hillbilly culture it depicts. Reportingly, the drive in classic of the 1960's, and I can see why. Recommended viewing.