A studio picture offering a breezy take on the criminals-on-the-run formula more commonly encountered in exploitation films, Outlaw Blues combines a solid premise, plentiful action, and melodic original songs to render enjoyably disposable entertainment. Notably, the picture is one of the few purely mainstream star vehicles that Peter Fonda made during the erratic period that followed his 1969 breakout hit Easy Rider; whereas most of Fonda’s ’70s flicks reek of sleaziness, Outlaw Blues is comparatively wholesome even though it’s about a recidivist criminal. An amiable blend of Southern mayhem and music-industry satire, the picture has all the noise and speed of a Corman production while also benefitting from better production values and the willingness to eschew overly lurid elements.
Imaginatively scripted by Bill L. Norton and unobtrusively directed by Richard T. Heffron, the movie lets Fonda’s rebel-hero persona manifest as mischievous charm instead of violent anarchy. It also helps that Fonda is paired with leading lady Susan Saint James, whose ballsy attitude and throaty voice provide a Type A complement to Fonda’s laconic vibe. Fonda plays Bobby Ogden, a jailed musician who performs his song “Outlaw Blues” during a soundcheck when country star Garland Dupree (James T. Callahan) prepares for a concert at the big house. Although Garland pretends to be unimpressed, he subsequently records a hit version of “Outlaw Blues” and claims to have written the song. When Bobby gets paroled, he confronts Garland, who accidentally shoots his own foot during the resulting scuffle, then blames his injury on the ex-con. Suddenly a fugitive, Fonda aligns with Tina Waters (Saint James), a backup singer with loads of music-industry savvy. She arranges for Bobby to record “Outlaw Blues,” and that version becomes an even bigger hit than the first one, elevating Bobby to country-music stardom even though he’s on the run from police.
Norton’s amiable script features several lively characterizations, so whenever the picture focuses on such obnoxious Nashville types as Garland and sleazy label executive Hatch (Michael Lerner), Outlaw Blues becomes a rollicking travelogue of Fonda’s odyssey through a world of rampant amorality. Scenes of Fonda performing music are so casual and warm that it’s easy to believe his character’s popularity, and the catchiness of the title song adds credibility. (The tune was written by John Oates, of Hall and Oates fame.) Fonda is his usual mellow self, letting the storyline do most of the heavy lifting, while Saint James adds sparks as a liberated woman who’s a sucker for a hard-luck case. And even if the chase scenes (involving boats, cars, and motorcycles) drag on endlessly, they don’t totally overwhelm the film’s low-key charm.
Imaginatively scripted by Bill L. Norton and unobtrusively directed by Richard T. Heffron, the movie lets Fonda’s rebel-hero persona manifest as mischievous charm instead of violent anarchy. It also helps that Fonda is paired with leading lady Susan Saint James, whose ballsy attitude and throaty voice provide a Type A complement to Fonda’s laconic vibe. Fonda plays Bobby Ogden, a jailed musician who performs his song “Outlaw Blues” during a soundcheck when country star Garland Dupree (James T. Callahan) prepares for a concert at the big house. Although Garland pretends to be unimpressed, he subsequently records a hit version of “Outlaw Blues” and claims to have written the song. When Bobby gets paroled, he confronts Garland, who accidentally shoots his own foot during the resulting scuffle, then blames his injury on the ex-con. Suddenly a fugitive, Fonda aligns with Tina Waters (Saint James), a backup singer with loads of music-industry savvy. She arranges for Bobby to record “Outlaw Blues,” and that version becomes an even bigger hit than the first one, elevating Bobby to country-music stardom even though he’s on the run from police.
Norton’s amiable script features several lively characterizations, so whenever the picture focuses on such obnoxious Nashville types as Garland and sleazy label executive Hatch (Michael Lerner), Outlaw Blues becomes a rollicking travelogue of Fonda’s odyssey through a world of rampant amorality. Scenes of Fonda performing music are so casual and warm that it’s easy to believe his character’s popularity, and the catchiness of the title song adds credibility. (The tune was written by John Oates, of Hall and Oates fame.) Fonda is his usual mellow self, letting the storyline do most of the heavy lifting, while Saint James adds sparks as a liberated woman who’s a sucker for a hard-luck case. And even if the chase scenes (involving boats, cars, and motorcycles) drag on endlessly, they don’t totally overwhelm the film’s low-key charm.
Outlaw Blues: GROOVY
1 comment:
I saw Outlaw Blues at a walk-in theater with my grandfather in 1977 when I was visiting on summer vacation. I was 10 yrs old at the time and absolutely enjoyed it! I've watched it a couple times since and I still think it's a solid movie. I appreciate your positive review (and love your dedication to '70s movies).
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