Gator the sequel to White Lightning is a little more of what people expect of a “moonshine” movie starring Burt Reynolds. Though to be sure, this is no Smokey and the Bandit. One would be inclined to think that with its massive opening boat chase that rivals anything Burt and Hal (Needham for those non-Burt fans out there) did their entire career. However, when Gator, the film, decides to go hard it goes H-A-R-D killing without discrimination including cats and cat ladies.
Gator McKlusky (Reynolds) is reenlisted by the government to take down crime lord Bama McCall (Jerry Reed). McKlusky with the help of an intrepid reporter Aggie Maybank (Lauren Hutton), a Northern Fed Greenfield (Jack Weston), and a crazy cat lady (Alice Ghostley) may stand against Bama and his goons. Like everything Gator is involved with, things get messy very quickly and all ends with a huge car chase.
As sequels go for Burt Reynolds action vehicles you could do worse than Gator. The director/star is in full laconic superstar mode. Though this Gator is a lot more jovial than the one from White Lightning – Reynolds never forgets when it gets mean. The film never loses all its “teeth” but it isn’t as serious and sharp as the first. That is actually to benefit Reynolds the superstar, not as much to Reynolds the director. Though make no mistake that Reynolds the director is a natural. Everything here works perfectly – the action, the drama, the romance, the comedy. All attributed to the cinematic “good time” stew that Reynolds has concocted here.
Gator isn’t the level of holy-crap-that’s-amazing that White Lightning was but it’s a worthy successor to the original when you consider it’s superstar and where he was within his career. For this reviewer’s money will take Gator over Smokey 2 or Cannonball Run 2.
The Transfer
Kino Lorber has treated Gator with the same care and respect they have with White Lightning. The widescreen shot film (White Lightning was shot flat) is clean and free of any dirt, hair, specks, or scratches throughout its runtime. The transfer may actually be a bit better of the two just because of how beautifully slick the 2.35 image looks on a big screen (I’ve watched both films a few times on my Sony 85-inch). The film’s grain structure is intact which leads to a truer representation of the film was shot and produced. Fans of the film will be excited to revisit this upgraded transfer for the film.
The Extras
They include the following;
NEW Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson
Back to the Bayou: Part II – Interview with Star Burt Reynolds
Radio Spots
Theatrical Trailer
The all-new Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson opening with Gator’s released during the Bicentennial celebration. Some of the details include the cameo by Mike Douglas –his day time talk show and its success; the “uneven” tone of the sequel; the sequel’s production moving to Georgia for location shooting – a larger discussion of Burt Reynolds affinity for Georgia as a production location; the work of Jerry Reed both as a performer acting and musical – and how this is only his second role; Needham’s account of the boat stunt work done to accomplish some of the great shots in the set piece; a discussion of Hal Needham’s career as a stuntman and as a director; the differences in style and tone between Gator and White Lightning; a larger discussion of Georgia as a filming location – including many Italian productions that did so as well; the modern Georgia and how the bigger productions and how that ended up happening; the attitude changes in society and how that effects movies now and a comparison to Gator – which is a larger discussion of shooting on location, production value, stunt work, and general practical FXs that just isn’t the norm anymore; the work of Lauren Hutton – and larger discussion of her career as a star and model; a discussion of the poster art – which leads to a discussion of selling films with sex and how that rubbed against morals of the era; the work of Burt Reynolds the star and the director – both here and during his career; a larger discussion throughout the track about of the various actors that were cast including various details about their career; and much more. Mitchell and Thompson deliver a winning companion track to their track on White Lightning that’s a great mixture of informational, anecdotal, and personal.
Back to the Bayou: Part II – Interview with Star Burt Reynolds (10:22) – in this continuation of the conversation with Reynolds from White Lightning begins with his hunger to make a great picture because it was his feature film directing debut. Reynolds talks about his affection for Georgia (filming 12 films there) and Georgia’s affection for him; the authenticity of shooting on location that was brought by doing so; his love of directing – and wanting to do more but superstardom kept him from it; working with Lauren Hutton – including a wild anecdote of what she used to do to “cheer up” the crew; his work and friendship with Jerry Reed – and how they came up with the name Bama McCall; the wild stunt that ends the picture that Hal Needham did – and a few truly crazy other anecdotes; and much more. Again, Reynolds is in a charming and relaxed mood that gives the interview a lighter-than-air feel that for any Burt fan is catnip. One hopes that Kino has more archival interviews with him they’ll be placing on other future releases.
Radio Spots (1:31) – two spots play over the original poster art for the film.
Rounding out the special features are trailers for Gator (1:09); White Lightning (2:26); Fuzz (2:59); The Longest Yard (4:04); Hustle (3:14); Semi-Tough (2:11)
The Final Thought
Gator is Burt Reynolds at his flexing Superstar greatest. Kino has treated this one with the respect it deserves. Highest Possible Recommendations!!!
Burt Reynolds is back as Gator McKlusky. Kino Lorber has released the sequel to White Lightning, Gator in a beautiful and stacked Blu-ray special edition.
The Film
Gator the sequel to White Lightning is a little more of what people expect of a “moonshine” movie starring Burt Reynolds. Though to be sure, this is no Smokey and the Bandit. One would be inclined to think that with its massive opening boat chase that rivals anything Burt and Hal (Needham for those non-Burt fans out there) did their entire career. However, when Gator, the film, decides to go hard it goes H-A-R-D killing without discrimination including cats and cat ladies.
Gator McKlusky (Reynolds) is reenlisted by the government to take down crime lord Bama McCall (Jerry Reed). McKlusky with the help of an intrepid reporter Aggie Maybank (Lauren Hutton), a Northern Fed Greenfield (Jack Weston), and a crazy cat lady (Alice Ghostley) may stand against Bama and his goons. Like everything Gator is involved with, things get messy very quickly and all ends with a huge car chase.
As sequels go for Burt Reynolds action vehicles you could do worse than Gator. The director/star is in full laconic superstar mode. Though this Gator is a lot more jovial than the one from White Lightning – Reynolds never forgets when it gets mean. The film never loses all its “teeth” but it isn’t as serious and sharp as the first. That is actually to benefit Reynolds the superstar, not as much to Reynolds the director. Though make no mistake that Reynolds the director is a natural. Everything here works perfectly – the action, the drama, the romance, the comedy. All attributed to the cinematic “good time” stew that Reynolds has concocted here.
Gator isn’t the level of holy-crap-that’s-amazing that White Lightning was but it’s a worthy successor to the original when you consider it’s superstar and where he was within his career. For this reviewer’s money will take Gator over Smokey 2 or Cannonball Run 2.
The Transfer
Kino Lorber has treated Gator with the same care and respect they have with White Lightning. The widescreen shot film (White Lightning was shot flat) is clean and free of any dirt, hair, specks, or scratches throughout its runtime. The transfer may actually be a bit better of the two just because of how beautifully slick the 2.35 image looks on a big screen (I’ve watched both films a few times on my Sony 85-inch). The film’s grain structure is intact which leads to a truer representation of the film was shot and produced. Fans of the film will be excited to revisit this upgraded transfer for the film.
The Extras
They include the following;
The all-new Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson opening with Gator’s released during the Bicentennial celebration. Some of the details include the cameo by Mike Douglas –his day time talk show and its success; the “uneven” tone of the sequel; the sequel’s production moving to Georgia for location shooting – a larger discussion of Burt Reynolds affinity for Georgia as a production location; the work of Jerry Reed both as a performer acting and musical – and how this is only his second role; Needham’s account of the boat stunt work done to accomplish some of the great shots in the set piece; a discussion of Hal Needham’s career as a stuntman and as a director; the differences in style and tone between Gator and White Lightning; a larger discussion of Georgia as a filming location – including many Italian productions that did so as well; the modern Georgia and how the bigger productions and how that ended up happening; the attitude changes in society and how that effects movies now and a comparison to Gator – which is a larger discussion of shooting on location, production value, stunt work, and general practical FXs that just isn’t the norm anymore; the work of Lauren Hutton – and larger discussion of her career as a star and model; a discussion of the poster art – which leads to a discussion of selling films with sex and how that rubbed against morals of the era; the work of Burt Reynolds the star and the director – both here and during his career; a larger discussion throughout the track about of the various actors that were cast including various details about their career; and much more. Mitchell and Thompson deliver a winning companion track to their track on White Lightning that’s a great mixture of informational, anecdotal, and personal.
Back to the Bayou: Part II – Interview with Star Burt Reynolds (10:22) – in this continuation of the conversation with Reynolds from White Lightning begins with his hunger to make a great picture because it was his feature film directing debut. Reynolds talks about his affection for Georgia (filming 12 films there) and Georgia’s affection for him; the authenticity of shooting on location that was brought by doing so; his love of directing – and wanting to do more but superstardom kept him from it; working with Lauren Hutton – including a wild anecdote of what she used to do to “cheer up” the crew; his work and friendship with Jerry Reed – and how they came up with the name Bama McCall; the wild stunt that ends the picture that Hal Needham did – and a few truly crazy other anecdotes; and much more. Again, Reynolds is in a charming and relaxed mood that gives the interview a lighter-than-air feel that for any Burt fan is catnip. One hopes that Kino has more archival interviews with him they’ll be placing on other future releases.
Radio Spots (1:31) – two spots play over the original poster art for the film.
Rounding out the special features are trailers for Gator (1:09); White Lightning (2:26); Fuzz (2:59); The Longest Yard (4:04); Hustle (3:14); Semi-Tough (2:11)
The Final Thought
Gator is Burt Reynolds at his flexing Superstar greatest. Kino has treated this one with the respect it deserves. Highest Possible Recommendations!!!
Kino Lorber’s Blu-Ray edition of Gator is out now.
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