Word: yokel
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...unfailingly photogenic in their squalor. The enchanting promiscuity of the landscape, the vagabond itinerancy, and the no-sweat amorality of the characters keep the narrative amiably in motion, unburdened by overt lecturing or tedious symbols. The native Cico, who might have been pressed into the boring documentary role of "yokel-from-the-primitive-hinterlands-who-learns-the-modern-world-fast-and-succeeds-in-the-city," more realistically straddles the two worlds, both awkwardly and heroically. He is the idealistic primitif, yet when the show busts, he promptly follows Lord Gypsy's lead in sending out his wife as a prositute...
Steve Kaseta is the captain. He's big, he's a local yokel, and this year he's playing as his title would lead one to expect...
Reynolds is soon offering aid and comfort to a damsel in distress. She is Sally Field, playing an industrial-show dancer who has deserted a yokel groom on their wedding day. He is a hopeless dummy, but his dad is not. His dad is, in fact, Jackie Gleason, portraying Buford T. Justice, a self-advertising legend among backwoods peace officers. He is determined to recapture Field for his boy. There is an endless chase, funnily staged by Needham. With the help of many CB friends, girl and brew are safely delivered from evil...
...movie gets a charge from the high-voltage presence of Giancarlo Giannini, Director Lina Wertmuller's favorite actor (Seven Beauties; Swept Away). Here, with rambunctious energy, Giannini assumes roles in eight separate vignettes, playing everything from a lawyer hung up on dowagers to a simple, wistful yokel who unknowingly ar ranges an assignation with a transvestite. His partner in most of these episodes is a young Italian actress, Laura Antonelli, who, in a more innocent time, might have been called a lollapalooza. Antonelli has the face of a ravished angel, the shape of legend...
...real quest of both sets of thieves is for some spark of genuine humor amid all these outrageous contrivances. The screenplay is little help. It keeps turning up yokel lines like, "Paris - that's near Europe and Asia." Caan and Gould fall back on a series of frantic semaphores to the audience, calling attention to how adorably prankish they are being. Director Mark Rydell's notion of how to give shape to a scene apparently is to make it louder and faster. This does produce an occasional laugh, just as somebody pounding a piano with a baseball...