"Game of Thrones"
Stansfield film clip (sample below)
Massetti film clip (sample below)
Marie Briare film clip (sample below)
Berman, Cheyann Dillon, Andrea Hunt, Taryn Piana,
Sarah Agor and Nicolle Blair
McCart in Locked Up (2017)
Cusi and Nuria Prims in Uncertain Glory (2017) in
Hausburg and Margarita Ruhl in True Love Ways
(2015) in 720p
Bell in The Baytown Outlaws (2012) in 1080hd
Carter in Bobbie Jo and the Outlaw (1976) in an
enhanced 1080hd collection. This file is enormous - more
than 600 meg - but if you have the interest and the
bandwidth, it's a keeper.
Just before former Miss World USA Lynda Carter became famous as Wonder Woman, she was experiencing a lull in her career that led to her (frequently naked) participation in this cheapo exploitation flick from American International Pictures, the masters of quickie drive-in flicks. Although this film was made during her dry spell, it was not actually released until after she began the Wonder Woman series, much to the chagrin of ABC and Lynda herself.
AIP's B-movies, like porno films, skimmed off the fame of currently hot trends, then advertised sensationally. You already know how it works in porn, because no film, however serious and important, is immune from a porn spin-off. For every Saving Private Ryan, there is a Shaving Ryan's Privates. This is known on the internet as Rule 34 - "If it exists, there is a porn version of it – no exceptions." There's Snatch Adams, Schindler's Fist, For Your Thighs Only, Free MY Willy ... you get the picture.
AIP didn't rip off the titles of hot movies, at least not as blatantly as the porno producers, but you could be absolutely sure that any hot movie trend would soon engender several low-budget drive-in quickies. In the era of this particular film that meant good ol' boys in souped-up cars in the style of Burt Reynolds. Reynolds had first scored country paydirt as Gator McKlusky in White Lightning (1973), and was busy making a sequel to that film (Gator, 1976) while AIP was trying to create its own country outlaw in the form of preacher-turned-actor Marjoe Gortner.
AIP got the lead character's rebellious attitude right, but they kinda took the "outlaw" concept to an extreme level. While the bad boy characters of Burt Reynolds would occasionally screw up some police cars in high-speed chases, thus causing some bumbling deputies to end up with their arms in slings, Marjoe's character basically went on a robbery and murder spree that would culminate with his death in a hail of bullets. Bonnie and Clyde is not the only good film which receives a ... er ... homage ... here. If you enjoyed Deliverance (another Burt Reynolds movie), you won't want to miss this film's bloody recreation of the famous "squeal like a pig" sequence. Despite the intense violence, the script and Marjoe's laid-back performance continue to represent the lead character as a likeable fun-lovin' country boy outsmartin' the bumbling local sheriff, as if his homicides were just some more wacky pranks from the Duke boys.
Some elements of this film are almost surreal. Forget the "almost." They are surreal. Some examples:
Marjoe is stalking a sexy waitress (Carter) when he falls asleep in his stolen car while parked on her block. When he wakes, she's in the passenger seat, telling him to drive anywhere. They head out to the desert, where they are hiking through the ruins of an old Native American village when Carter suddenly produces a guitar and starts singing.
By the way, you might have noted the similarity in the titles "Smokey and the Bandit" and "Bobbie Jo and the Outlaw," but you'd be wrong to assume that AIP was ripping off the big studio film. Bobbie Jo actually came out a year before Smokey, so AIP was actually on the cutting edge of the trend which would soon rule big screens and small in the late 70s, when Reynolds would have a big hit with Smokey and the Bandit, and The Dukes of Hazzard would begin a long TV run. Of course, AIP didn't have a lot of money in their budgets, so this film is punctuated with exactly one country song which is repeated again and again. There is another musical number, but it's a lame pseudo-country ballad written especially for the film and sung by Wonder Woman, accompanied by her own strumming of some simple guitar chords. She's a good singer, but not country style. Her voice is more suited to cabaret torch reviews than to the Grand Ole Opry.
Apart from the budget problems, the repetitive score, the bizarre lack of continuity, and the fact that every character is a stereotype, the film also managed to haul out every imaginable cliché in the 1970s film playbook: a grizzled Native American takes the outlaw gang on an acid trip in the desert; the outlaws stay at a New Mexico commune in the hand-built home of a hippie friend; the cops rough up and insult the hippie; the outlaws hide out and rest in the barn of an old farm couple and insist on paying them ...
You get the idea.
It's the drive-in era at its pinnacle!