![]() ![]() Armstrong, The Car), the mean old bastard who runs the still. With the help of a souped up muscle car provided by the Feds, Gator works his way into the local Moonshine scene, riding with “Rebel” Roy Boone (Bo Hopkins, The Getaway) and eventually meeting up with Big Bear (R. Dude is very reluctant to help Gator, but he’s already violated probation and the Feds have him. The Feds set him up with a local mechanic, moonshine runner and demolition derby driver, Dude Watson (Matt Clark, Pat Garrett and Billy the Kid). Gator is reluctant to become a federal stooge (he and his father were moonshiners) but he wants revenge, so he agrees. The Feds know that Connors is corrupt as hell and runs his county with an iron fist (in the memorable words of one character, you might as well try to go to China to take down Mao). Gator tries to bust out but is easily caught, so he reluctantly takes the Warden’s deal-cooperate with the Feds, who want Connors on the only charge that will stick-taking moonshine money. Gator McKlusky is working in the motor shop of a prison when his sister arrives to tell him bad news-his kid brother has drowned a few counties over. Three years after WHITE LIGHTNING made a mint for United Artists, Reynolds made his directing debut on GATOR, the inferior sequel.“Elementary, my dear Swamp Hussy, elementary” Quentin Tarantino repurposed segments of Charles Bernstein’s excellent score in KILL BILL and DJANGO UNCHAINED. One can hardly go wrong with Hopkins (THE WILD BUNCH) as a violent nut, and Diane Ladd (RAMBLING ROSE) pops up in a scene with daughter Laura Dern (WILD AT HEART). Reynolds’ DELIVERANCE co-star Ned Beatty is too young to play a character who has been the sheriff of Bogen County since Matt Clark was a boy, but he also displays the perfect mix of old-fashioned manners and icy foreboding that makes Connors more than a Clifton James caricature. Sargent also decided wisely to leave in the picture a Needham car stunt that didn’t go quite as planned. Director Joseph Sargent (THE TAKING OF PELHAM ONE TWO THREE) keeps the story moving along at a steady pace, pulling every drop of Southern fried ambiance out of the appropriately grimy locations and assembling a top-notch supporting cast. The fine screenplay by William Norton (BIG BAD MAMA) is a hearty mix of car chases (executed by stunt coordinator Hal Needham), Gothic atmosphere, filial conflict, and even some social commentary. In particular, a scene in which he eavesdrops on the conversation of a group of starry-eyed college students while internally reflecting on his relationship with his late brother, and another in which he learns the truth behind his brother’s death from a teen mother prove Reynolds’ mettle and the script’s surprising complexity. Not only does he get to take off his shirt and squeal tires like a good action star should, but he also shows he’s not just a pretty face with considerable charisma. WHITE LIGHTNING is an excellent showcase for Reynolds. With the help of his outside contact Dude (Matt Clark), a reluctant ally whose broken probation forces him to aid McKlusky, Gator joins up with runner Roy (Bo Hopkins), whose sexy girl Lou (Jennifer Billingsley) takes a “shine” to the charismatic ex-con. Connors (Burt’s DELIVERANCE costar Beatty), who has been taking kickbacks from moonshiners for years.Īfter an escape attempt fails, McKlusky agrees to work undercover for the federal government, getting a job running “shine” while taking notes on the “who’s,” “when’s,” and “where’s” of the illegal whiskey business-a mission that meets with great disapproval from Gator’s own parents, but the only way to bring Connors down. Unfortunately, he chose to protest in “the worst county in the world,” redneck Bogen County, Arkansas, which is run by the seemingly benign but actually iron-fisted Sheriff J.C. Donnie was the first McKlusky to attend college, where he became involved in the protest scene, growing his hair and speaking out against government corruption. McKlusky, serving a five-year sentence for illegally transporting untaxed whiskey across state lines, is stunned to learn of the death of his younger brother Donnie, to whom Gator wasn’t especially close. It was DELIVERANCE, the terrifying adaptation of James Dickey’s best-seller, that turned Reynolds’ career around, and WHITE LIGHTNING was one of his first starring vehicles in its aftermath. after a decade and a half of TV westerns and cop shows, low-budget and little-seen potboilers, and even an Italian western, NAVAJO JOE, which failed to turn him into the next Clint Eastwood. ![]() Burt was on his way to becoming the biggest movie star in the U.S. “If you haven’t seen WHITE LIGHTNING, then you haven’t seen Burt Reynolds” cried the one-sheet for this entertaining action flick, which stars Reynolds as Arkansas moonshiner Gator McKlusky. ![]()
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