This extremely violent but crowd-pleasing police drama inspired by real events has become something of a Grindhouse classic; it was certainly successful and popular enough to produce two sequels, a TV series and a couple of remakes over the years! Incidentally, the screenwriter/director/star team behind it would themselves collaborate once again on the similarly-themed FRAMED (1975).
That’s not to say, however, that the original WALKING TALL is beyond criticism: the narrative does take its repetitive turns, as Buford’s life is thrice attempted upon (requiring him to be hospitalized and undergoing surgery), while his wife’s killing can be seen coming from miles off! Still, Joe Don Baker is perfectly cast in the role of the harassed but unbending brawny lawman – and it deservedly cemented his reputation for a while. Director Karlson (of whose work, I’ve just watched a couple of enjoyable Matt Helm spy spoofs with Dean Martin) keeps a steady enough hand throughout while juggling the various elements: not just the folksiness and bigotry marking the milieu in which the narrative is set, but the kind of no-holds-barred thrills the 1970s seemed to mandate as a means of mass entertainment. In fact, vigilantism spelled big box-office at the time with the likes of DIRTY HARRY (1971), STRAW DOGS (1971), DEATH WISH (1974), etc. A decent cast of Hollywood veterans has been rounded up in support of the star: these include Noah Beery Jr. (as the hero’s father), Gene Evans (as a crooked sheriff), and Kenneth Tobey (as another so-called pillar of the community – read redneck – involved in the myriad illicit activities).
By the way, the version I watched (via the Rhino DVD) was open-matte as opposed to the more professional-looking Widescreen original – in fact, in a number of shots, the boom-mike is plainly visible above the actors’ heads!
That’s not to say, however, that the original WALKING TALL is beyond criticism: the narrative does take its repetitive turns, as Buford’s life is thrice attempted upon (requiring him to be hospitalized and undergoing surgery), while his wife’s killing can be seen coming from miles off! Still, Joe Don Baker is perfectly cast in the role of the harassed but unbending brawny lawman – and it deservedly cemented his reputation for a while. Director Karlson (of whose work, I’ve just watched a couple of enjoyable Matt Helm spy spoofs with Dean Martin) keeps a steady enough hand throughout while juggling the various elements: not just the folksiness and bigotry marking the milieu in which the narrative is set, but the kind of no-holds-barred thrills the 1970s seemed to mandate as a means of mass entertainment. In fact, vigilantism spelled big box-office at the time with the likes of DIRTY HARRY (1971), STRAW DOGS (1971), DEATH WISH (1974), etc. A decent cast of Hollywood veterans has been rounded up in support of the star: these include Noah Beery Jr. (as the hero’s father), Gene Evans (as a crooked sheriff), and Kenneth Tobey (as another so-called pillar of the community – read redneck – involved in the myriad illicit activities).
By the way, the version I watched (via the Rhino DVD) was open-matte as opposed to the more professional-looking Widescreen original – in fact, in a number of shots, the boom-mike is plainly visible above the actors’ heads!