What About It?
(for a full summary of the film, scroll down to "What Happens?")
While "White Lightning" is first and foremost, an action revenge story, that doesn't keep it from addressing a few social issues. The battle between the federal government and the culture of moonshiners is one that affects every character in the film. While the government isn't portrayed as an outright villain, it is showed as possibly, a necessary evil, depending on your own priorities. Gator's father was a moonshiner, as was he. Gator has three moonshine offenses, as does Roy, the other prominent "runner" in the film, suggesting that this is the life they know, law or not. When Gator leaves prison to see his parents, they're not shocked at what he's done, and ask him not to get into it again, because he'll get in trouble with the law, not because it's wrong. Prison is just a part of the life they know, and they don't think any less of him for being incarcerated for it. Gator's father, however, does think less of him for working with the feds, naming names of moonshiners. He seems to view it as a betrayal of the family.
An interesting part of the film is that Gator, doesn't engage in much hand wringing over working with the federal government. For him, it appears the only second option available, escape being first. Everyone assumes that he'll be turning everyone in, but as he explains a few times, he's only after one guy. Using the law against the law, gives him the ability to avenge his brother when nothing else will. Ultimately he doesn't betray his culture, but uses the law as a tool. The Sheriff, is as much a part of the moonshine culture as Gator is, and while we could see him as "law" He is as opposed to the Federal government as much as Gator's father or any moonshiner. viewing it as very much the enemy. Connors views the federal government as communists, trying to force integration and rob the people of his county.
Gator's decision is rejected by his father and others because they don't like the principle of the thing. It's a very "us and them" mentality. You just don't work against your own people. Gator's decision however, is also decided based on "the principle of the thing." He reveals late in the movie that he didn't really know his brother, but to him the idea that some sheriff can just kill his brother is not at all tolerable. It's an idea that he can't stand so much that he's willing to risk his life to correct it. He's not making a stand against any great injustice. A man killed his brother. It's a personal attack that he feels must answered by any means necessary. His distant view is evidenced by the lack of savagery on Gator's part. He's willing to fight or even kill someone if he has to to preserve his own life, but even after killing Sheriff Connors, he takes no pleasure in it, other than doing a job he needs to see done. He's able to stand by calmly as the Sheriff launches himself into the water. It doesn't need to be up close and personal. it just needs to be done. Rather than shoot Big Bear with the shotgun, he hits him with it, and only kills an officer who has his gun pointed at him at close range. He wonders what it means that his brother who was "good" and interested in social change was killed, while he, who was never good at all, gets by OK. He doesn't understand what his brother was doing, but clearly sees it as more worthwhile than his own activities. He answers his own pondering at the end when he says "The good, they die young." if you note that Sheriff Connors was not young.
While not overly concerned with a greater injustice, the character does have his own code of conduct. He thinks nothing of sleeping with Lou, although she's Roy's girl. When confronted on it, he asks if Roy plans to marry her, implying that if he was, he'd back off. Clearly he isn't, so this doesn't trouble his conscience. Gator isn't a character given to much introspection, but he has lines he won't cross. He's happy enough being a "good ol' boy." although his definition may differ from others. While he's pretty smart, he isn't educated. or bothered by the fact he isn't. He knows cars and moonshine, and given a choice would be content to sit around drinking and telling jokes.
Contrary to the movie's assertion, he isn't "the baddest." He doesn't bother with tough guy posturing, unless pressed to defend himself, yet he's secure enough to take a gun away from someone and then give it back if they ask.
The federal government looms over all of them, and the times are changing, as Harvey tells Sheriff Connors "It can't be the way it was!" Although most people in Gator's immediate circle wish the federal government would leave them alone, they are slowly accepting that some changes are inevitable. This is a community where Gator can establish instant credibility, by mentioning a driver he knew named "Rebel Roy," a character who had a Confederate flag painted on his hood. He views protesting as something that should happen "up north, in New York. places like that." While Gator's limited world view and his prison term would seem to insulate him from the world changing around him, it doesn't, and he's affected him through his brother's death. His brother Donnie was the "the only one in the family who ever accomplished anything" He doesn't understand Donnie at all, but seems happy with what he's done, and his own revenge taking is it's own sort of protest, rejecting the status quo which allowed his brother's death.
Director Joseph Sargent does a passable job, telling the story in straightforward style. The scenery and settings ring true and build the secluded environment believably. The car chases and action sequences are exciting enough, but the focus is always squarely on Burt Reynolds who gives a great performance here. The character work is interesting, particularly Gator's relationship with Cap Simms, which shows that Gator has no deep grudge against "the system" thriving in prison as easily as he does outside. Sargent doesn't attempt anything flashy or elaborate to make his mark on the film, and it's not surprising to me that he's primarily a director of TV movies, as this could easily fit within the TV movie style. It's no insult in my opinion when I don't notice a director, it can just mean that he focused on telling the story, which is true here I think.
Reynold's gives a terrific lead performance, alternately subtle and over the top. His character is uneducated, but you get the sense that in his own way, he's always thinking. It's easy to see why he was such a big name in the movies, and a different world from "Cannonball Run" He's a fine actor and shows it here. Ned Beatty is also great here, playing the backwater menacing Sheriff perfectly. In a perfect world roles like this would ease "Deliverance" associations that follow Beatty around. A fine job, and he presents a believably real danger, playing a man who's unbelievably mean spirited, although he believes in service of his community.
"White Lightning" ends up being a story about what's personally acceptable, and what changing times do to us as people. It's smart enough to present change as good and bad. Although we make forward progress, we lose some things too, but if we don't adapt, we die. Sheriff Connors used moonshine to help his officers buy the things they need for their families. But, Connors also thought nothing of killing a college kid who organized a protest and insisted on his rights. The film doesn't present the federal government as the solution, pointing out that they couldn't do a thing against the sheriff, if Gator wasn't willing to help. The federal government's laws are simply a condition, which here Gator uses for his own ends. In this case a change is necessary. In Gator's personal case, if he observed the traditional "don't work with the feds" rule, he would not have been able to reach the sheriff at all. His adaptability is what makes him a threat and gives him the right thing to say when he has a knife up to his neck. Some things are bigger than us, but like it or not, we have to deal with them somehow.
What Happens?
The tagline for "White Lightning" was "Meet the Bayou's baddest good ol' boy." This of course refers to Burt Reynold's who plays good 'ol boy in some respects, but adds a bit to the stereotypes. Filmed in 1973, it's the product of a different time, a fact that even then, was a big part of the film.
