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In a related 1970s subgenre, the 'vigilante revenge film,' populist heroes took the law into their own hands to fight against crime, corruption, and authoritarian bureaucracy, often from a rightist perspective. Temple Run Oz Hack Android Free Download. Typically, the protagonist was a decent man who had been wronged but cannot receive justice under law and is forced to seek redress by violating it. Billy Jack (Warners, 1971; re-released by Taylor-Laughlin, 1973) was the model for this type of film, and its basic strategy was that a vicious attack upon the hero's loved one(s) catalyzed his general sense of abuse and pushed him to seek violent retribution. 53 (Like Howard Beale in Network [United Artists; Sidney Lumet, 1976], he's 'mad as hell and not going to take it anymore.'

) Billy Jack earned $32.5 million through its re-release and generated two successful sequels from Warners—The Trial of Billy Jack (Tom Laughlin, 1974), which indicts the criminal justice system and blames Nixon personally for Watergate; and Billy Jack Goes to Washington (Tom Laughlin, 1977), a virtual remake of Frank Capra's depression-era classic Mr. Smith Goes to Washington (1939). Bernard Purdue Purdue Good Rare. It also inspired the AIP/CRC release Walking Tall (Phil Karlson, 1973), an ultraviolent exploitation film based on the true story of Buford Pusser (played by Joe Don Baker), the club-wielding rural sheriff who had single-handedly cleaned up the vice-ridden town of Selma, Tennessee, after thugs murdered his wife. Opening slowly on the regional drivein circuit, this brutal endorsement of vigilantism became the sleeper of the year when it went into national release and returned $10 million in rentals against its tiny budget by attracting significant urban crossover. At the same time that Photoplay readers of 1973 voted Walking Tall their 'Favorite Motion Picture of the Year,' New York critics like Vincent Canby and Andrew Sarris were praising its 'accomplished artistry.'

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54 Two AIP-distributed theatrical sequels—Walking Tall, Part 2 (Earl Bellamy, 1975) and Walking Tall—The Final Chapter (Jack Starrett, 1977), both nearly as popular as the original—continued the story through Pusser's death in a suspicious car accident in 1974. And a 1978 CBS-TV movie based on his career, 'A Real American Hero' (Lou Antonio, 12/9/78), became the pilot for a brief series. The Walking Tall franchise inspired many imitations in the exploitation field and was itself a prime example of a general re-mythologizing of the country—particularly the rural South—in American popular culture during the 1970s. Stimulated by the decline of the nation's central cities and the rise of a 'rust-belt' in the urban North, as well as by an economic boom in southern-rim states like Florida and Texas, this new mythos reflected the region's very real transformation in the wake of the Civil Rights movement of the 1960s. It was manifest materially in the national popularity of country-and-western music, CB (Citizens Band) radios, and movies with working-class rural or 'redneck' heroes. By mid-decade, Southern-based car-chase movies (The Last American Hero [Lamont Johnson, 1973], Eat My Dust!

[Charles Griffith, 1976], Smokey and the Bandit [Hal Needham, 1977]); trucker movies (White Line Fever [Jonathan Kaplan, 1975], Breaker! [Don Hulette, 1977], Convoy [Sam Peckinpah, 1978]); romantic melodramas (Buster and Billy [Daniel Petrie, 1974], Ode to Billy Joe [Max Baer, 1976]); horror films (The Texas Chainsaw Massacre [Tobe Hooper, 1974], The Hills Have Eyes [Wes Craven, 1977]); and crime thrillers (Macon County Line [Richard Compton, 1974], Jackson County Jail [Michael Miller, 1976], Gator [Burt Reynolds, 1976]) were booming as newly created state film commissions helped to make location shooting in 'the new South' an economically attractive alternative to filming on location elsewhere. 55 The boom had extended to television by the late 1970s, where the rural South figured prominently in such series as The Dukes of Hazzard (CBS, 1979-1985), B.

And the Bear (NBC, 1979-1981), and The Misadventures of Sheriff Lobo (NBC, 1979-1980). But it was in the vigilante revenge subgenre that the South figured most prominently during the 1970s, perhaps because, 'new' or not, it had always registered statistically as the most violent part of the country. Yet, for all of this free-floating paranoia, films of mystery and detection were parodied throughout the decade, beginning with Fox's Sleuth (Joseph Mankiewicz, 1972), adapted by Anthony Shaffer from his own play, and two Agatha Christie adaptations from Paramount that border on parody—Murder on the Orient Express (Sidney Lumet, 1974) and its follow-up Death on the Nile (John Guillermin, 1978).