Outlaw Blues

source: Outlaw Blues

Trailer—Outlaw Blues

Outlaw Blues

This is definitely a drive-in flick, and I saw it at the drive-in here in Houston in the late 70's. I've been listening to the soundtrack of "The Harder They Come" and it occurred to me that there are similarities in this drive-flick and the reggae cult classic. The heroes are on the run, and are recording artists (talented in Jimmy Cliff's case, supposedly "talented" in Fonda's case). Well, I had my say.

I wish IMDb would allow for some TEXT/COMMENTARY about release dates because it is not as clear-cut as they would like it to be sometimes. Many pictures from this era were released regionally, and it was not a matter of 1500 prints nationwide all at one time. 1500 prints in the late 1970s was a HUGE saturation. Nowadays 3500 prints is common! Big epics of the 1960s and blockbusters like GOLDFINGER were released with 400 prints or fewer! JAWS was about 450 prints. Anyway, in the case of Outlaw Blues, the first dates were in the South and Southwest US, starting July 1, 1977; it opened in New York City on July 15; and in the midwest the release was July 22.

When recently released convict Peter Fonda shoots James T. Callahan for stealing his song, Susan St. James sees a chance to make a buck. No one will pay her a dime, so she teams up with Fonda to go on a crime-publicity spree. It's a very 1970s movie, with Fonda playing his counter-culture shtick to the hilt. There are lots of banjos in the score, corrupt sheriffs up for re-election, as well as the usual Football nationalism that made up the movies' post-1960s ideas of Texas. Fonda May have begun his career in beach movies and being a young doctor, but after EASY RIDER, Fonda had a star persona he didn't shake until the 1990s.

Unambitious, unassuming gem from the undervalued pile of movies over at Warner Bros. Director Richard T. Heffron and talented screenwriter B.W.L. Norton concoct an easy-going scenario full of rascally characters and lively action in tale of a luckless musician, recently paroled yet back in trouble after assaulting a country-western singer who stole his song. In the lead, Peter Fonda isn't his usual hole-in-the-screen self (Heffron helps him loosen up and be a bit more likable), while Susan Saint James is very fresh and funny as a music business insider who turns the convict into an anti-hero. Scruffy, charming picture was probably the perfect drive-in entry; it should play even better on the tube. *** from ****

Outlaw Blues has always been one of my favorites. I enjoy it every time I watch it. Peter Fonda and Susan St. James made a very believable couple. I just wish they had made more movies together. The fact that Peter Fonda was willing to put his "song" out there for the world to critique makes him more of a man to me. This movie was made during a time in my life when there was much less stress and it never fails to bring me back to those carefree days. And for that I thank them both. They have both been favorites of mine for years and seem to be genuine (real people) and that is very rare in their profession. Thanks for allowing me the opportunity to sing my praises.