Documentary filmmaker Jesse Moss brings a staggering change of pace from his last film, The Overnighters, to The Bandit. A tragic documentary about the working poverty created by oil boom jobs in the widwest, The Overnighters was one of the most powerful and insightful documentaries of 2014. The Bandit is a movie about the making of Burt Reynolds and Hal Needham’s Smokey And The Bandit (1977). The change of pace between these two titles might give audiences more whiplash than a high speed bridge jump stunt, but Moss proves himself more than capable of infusing life and energy and meaning into a film about rednecks smuggling Coors beer to the East Coast.
I was in the bag for this movie from the moment I heard of its existence. I’ve taken deep dives into Burt Reynolds’ filmography over the years, and have come to regard him as one of my favorite tough guy action stars in a sea of tough guy action stars which I admire. I’d even read significant chunks of Needham’s biography. Their charm and unique Hollywood friendship is both legendary and quixotic. Tough guy jock cowboys aren’t generally my speed. But there’s a purity to Needham’s underdog story of farmer to stuntman to top-grossing Hollywood director which, when edited together with superstar Reynolds’ ongoing struggles to be perceived as a legitimate actor, makes for hugely compelling documentary cinema. Add to those colliding character threads a behind the scenes look into the creation of a legendary blockbuster of the muscle car era, and you’ve got a hugely entertaining documentary that could have a much broader appeal than simply playing on Country Music Television (The Bandit’s funders and distributors).
The Bandit does the Reynolds/Needham relationship justice, functions as a wonderful behind the scenes doc of Smokey and the Bandit, and it tells the story of Hollywood stuntmen and women, explores ego and stardom, and brings laughs and thrills enough to secure it a place among the very best movies about movies I’ve ever had the pleasure to see.
This is the kind of doc that transcends the straightforward approach the medium is often saddled to. The archival footage of Reynolds, Needham, and footage from the set of the Smokey allows our subjects to speak for themselves in a unique way. Sure, there are the standard “talking head” interviews with living stuntmen who were tight with the guys, and some wonderful current interview footage with Reynolds himself. Needham passed away in 2013 but there are very recent interviews with him as well. But the wealth of archival footage combined with the interview footage is elevated by Moss’ editing, with the structure hanging all those wider topics around the shooting schedule of Smokey, effortlessly flowing back and forth between anecdotes about the film to the depths of a unique Hollywood friendship and beyond. Editing is also used to great effect to ramp up the comedy and energy of the film.
Visually dynamic, brimming with a machismo that’s somehow never off putting or patronising, and affirming the values of loyalty, friendship, and the quiet contributions of stunt people in Hollywood, The Bandit will be among the very best screening experiences of SXSW 2016.
The Screening
I can’t close out the review without noting that Moss and Reynolds were able to appear in person and do a Q & A. I’d heard rumors that Reynolds wasn’t doing so well these days. At 80 years old, the man could be forgiven for having to slow it down a bit. But from the moment he walked on stage in shiny heeled boots and a gold-headed cane in hand, he charmed the Paramount Theatre in downtown Austin like it was the 1970s all over again. After blowing a kiss to the audience, a woman came up and laid her bra at Reynolds’ feet. That’s no lie. He then went on to charm us all with stories he’s likely told 1000 times and I hope he’ll get to tell 1000 more.
There’s no question that this screening, with Moss and Reynolds in person, and a replica Smokey Trans Am parked out front of the Paramount, was one of those magical film festival screenings. There’s also no question that The Bandit, even without these bells and whistles, is a movie that has huge crowd pleasing potential and should be seen by a much wider audience than simply CMT subscribers.
And I’m Out.
More Burt and Hal:
WHITE LIGHTNING and GATOR, or “The Redneck Righteousness Of Reynolds”
HOOPER, or “The Redneck Righteousness Of Reynolds Returns”