C.C. & Company

As producers, Allen Carr and Roger Smith didn't know how to make movies but they did know how to market them. "C.C. and Company" (1970) was one of Smith's attempts to revive the acting and singing career of his wife Ann-Margret, whose American career had pretty much dried up in the mid-60's. So they looked around for a way to package the aging star in a vehicle they could profitably distribute.

They decided to capitalize of the huge popularity of the super bowl champion N.Y. Jets quarterback Broadway Joe Namath. If you were not around in 1969 you will have a hard time grasping the extent of Joe's popularity. At its peak he was probably the most popular sports figure of all time and he single-handedly transformed NFL viewing from a men's club to a mixed gender group. In "C.C. and Company" Joe doesn't act so much as just play his relaxed good- natured self in front of the camera. The film begins with its best sequence as Joe, playing an outlaw motorcycle club member named C. C. Ryder, is shown walking around inside a supermarket while casually assembling a sandwich from the various products on the shelves. After he eats the sandwich he helps himself to a Twinkie and a small carton of milk. Then he hits the checkout line with just a package of "Fruit Stripe" gum to pay for and exits the store. This might be film's only attempt at symbolism as the gas tank and rear fender of Joe's chopper are painted a zebra stripe pattern. Baby boomers may recall that "Fruit Stripe" gum commercials featured a zebra.

Carr and Smith (Smith also wrote the screenplay) chose to make an independent outlaw motorcycle picture, a sub-genre dominated by American International. While AI's films were normally distributed to drive-ins, Carr and Smith hoped to exploit the recent unexpected success of "Easy Rider"- a motorcycle movie that had played well in mainstream theaters. And this is just what they did with "C.C. and Company", using Avco Embassy to book the film into first-run theaters and into giving it extensive promotion. It would not play to drive-in audiences until 1971.

Joe delivers a lot of charm, some credible action sequences, and a scene where he actually exhibits some acting skill (or at least an awareness of the acting craft). This scene occurs early in the film when his club disrupts a moto-cross race. Joe is sitting on his bike watching the fun when he spots Ann looking on in shock. Joe wordlessly conveys a sudden embarrassment over the actions of his associates. The scene works, in part because of good editing, but also because Namath obviously understands the process.

The film was not a success for Ann-Margaret even though she gets to ride a mini-bike in one scene and sing a song ("Today" by Lenny Stack). She was a bit too old to keep playing the innocent girl who is also a sex kitten role, up till then her standard character. Without this to fall back on she seems lost trying to appear more sophisticated. In the looks-sexy department she is totally upstaged by biker chick Pom Pom-Jennifer Billingsley who I remember as the Driving Range attendant on an episode of "Ozzie and Harriet".

Upstaging everybody is William Smith (who played Texas Ranger Joe on the "Laredo" television show) as "Heads" leader Moon. Flexing his muscles, thanks to a sleeveless denim jacket, Smith pretty much steals the whole film. The seemingly virile Moon is a disappointment in the sack, which sets up a little action between Namath and Billingsley. The big fight between Smith and Namath is nicely staged but is really sold by frequent cut-away shots to the increasingly turned-on Pom Pom.

Also notable is Sid Haig who rides a traffic cop trike and wears a Mongol helmet. Lizard, the other trike rider, is "Mary Hartman's" Greg Mullavy, whose machine sports a toilet seat and the title "The Heads Head".

Largely forgotten now, at the time of its release "C.C. and Company" was a cultural icon. It was probably the most quoted 1970 film in schools and workplaces. The most immortal line being Moon's convoluted declaration to C.C. that: "We got the club here see and you are way over there". And just about everything that straight-arrow moto-cross racer Eddie Ellis (Don Chastain) said was an instant classic. "That's what gives motorcycling a bad name" and "You talking to me" (he said the line before Robert De Niro!).

Then again, what do I know? I'm only a child.

This is one of the best Biker-Movies ever. It has it all: heavy bikers, great action, good music, humor and a lot of sexy girls. Ann Margret and Jennifer Billingsley look really wonderful in their outfits. I think this was Joe Namaths film debut but the brilliant William Smith as Gangleader Moon steals everybody in the show. If you are a fan of those kind of movies, don't miss it!

Luscious Ann Margaret,her husband Roger Smith, an almost schoolboy-like "Broadway Joe", assorted character actors known for playing these kinds of roles, and a script that motorcycle enthusiasts either laugh like loons, or groan, at...or both.

Features some of the most priceless dialog this side of an Elvis epic. Some examples: "Those are the kind of people who give motorcycling a BAD name!", "Are you boys gonna help out a damsel in distress, or just make like Marlon Brando?", and more! Chicks and dudes - you will dig this! This love story/musical/60s stoner drive-in delight highlights incredibly stupid acts of riding AND crime (PLEASE don't try these anywhere!). All this, and Wayne Cochran (aka "The King of Blue-eyed Soul"), too. Makes a great double bill with either "Roustabout", "Easy Rider", "On Any Sunday", or NFL highlights of the Jets when Joe was their star QB. Good thing he stuck to sports after this mostly-intentionally forgotten effort. At least the bikes are cool, and the locations are stunning in that vivid color they used back then. Oh, and A-M gets a song in there, too...I think.

Largely forgotten now, this movie was viewed by a lot of people in the 1970s. Parents saw it, mainly for Ann Margeret, in movie theaters during its 1st run, older kids caught it, mainly for Joe Namath, during its drive-in run and all us youngsters saw it when it made it's way to TV in the mid-1970s. I remember it fondly.

A product of a by gone era, it's really not as bad as some have made it out to be. Worth it for the novelty of Joe Namath and the 1970s cheese factor alone. Broadway Joe isn't really half bad because he did have tremendous charisma and a screen presence which somewhat compensates for his lack of acting chops. Plus as his adversary, we have quintessential 1970s bad guy, William Smith (the unforgettable Falconetti from Rich Man, Poor Man mini series or bad-ass Jack Wilson in Clint Eastwood's Any Which Way You Can) who turns in a fine performance. Throw in Sid Haig, Crispin Glover's father Bruce (of Diamond's Are Forever fame) and a delightfully campy performance from Teda Bracci and you have a pretty memorable Biker gang.

I wonder if Ann Margret and her husband originally thought of Elvis for the title role because this film is similar to many of his mid-sixties on screen personas (misunderstood rebel woos wary girl, defeats opposition in race at end). Fortunately for Elvis, his career, unlike Miss Margret's at the time, had just been spectacularly reignited with his TV Comeback Special and Vegas headlining. Anyway, Ann always possessed a great screen presence of her own; enough, along with all the outdoor scenery, to keep the viewer interested.

I think if you take this movie for what it is, a mindless artifact of late 1960s/early 1970s culture starring one of that era's biggest icons, you won't regret having spent 90 mins. watching it on a dreary Saturday afternoon.

C.C. Ryder (Joe Namath), a motorcycle mechanic, is a somewhat reluctant member of an outlaw biker gang known as The Head. By accident, he meets a fashion photographer, Ann McCalley (Ann-Margret), and saves her from the other members of his gang. C.C. falls for Ann, but realizes he'll have to leave the gang if he is to win her over. C.C. enters and wins a dirt bike race, giving him the funds he needs to strike out on his own and pursue Ann. But gang leader Moon (William Smith) doesn't see it that way. He wants C.C.'s money for his own and goes after Ann to prove his point. C.C. will have to defeat Moon if he is to be free of The Head.

Given its relatively poor online reputation, I'm as shocked as anyone by how much I enjoyed C.C. and Company. The movie just clicked with me and worked quite nicely. Director Seymour Robbie may have been mainly a television director, but I felt he handled this transition to film very professionally. C.C. and Company is well-paced with plenty of sight gags and fight scenes that work as intended. For example, the scene where C.C. steals the dirt bike is really cleverly handled. The shot of him towing the dirt bike behind his chopper was a real kick. As for fight scenes, the fight between C.C. and Moon in the creek is really well choreographed and filmed. It's a solid action piece. Robbie also manages to throw in some menacing set-pieces, none more so than the kidnap of Ann. Again, nicely done.

The acting in C.C. and Company is also a highlight. I wasn't expecting much from Namath, but he gives a reasonably competent performance. In a lot of scenes he's not asked to do much more than sit on his bike and smile, but when challenged, he's more than capable. Ann-Margret is Ann-Margret and gives the performance you expect. The chemistry she had with Namath seemed natural and easy. The real star for me, however, is William Smith. He plays Moon as a hulking, menacing presence capable of snapping at a moment's notice. He's always struck me as a wonderful actor and, here, he really gets a chance to shine.

As I said near the start of this, I enjoyed C.C. and Company more than most. I was entertained throughout and that's all I ask of a film. A solid 7/10 from me.