I remember reading the book on which this film is based a long time ago before the film was made, that's for sure. Ever since I discovered it had been made into a film I've wanted to watch it, but it seems to be one of those films that is only rarely shown on the box. Now that I have, while I'm not exactly disappointed with what I saw, it's fair to say that so much more could have been made of the source material by a more accomplished writer than journeyman Jeff Kanew. I remember the tone of the book being quite dark, almost noirish, but none of that comes across in the film. For the most part, it has the look of a TV movie and some producer made a monumental mistake when he decided to allow John Schneider to sing his own syrupy songs on the soundtrack. But then, it has to be said that the music matches perfectly those early sickly scenes of domestic bliss between Macon (Schneider), his wife (Leah Ayres) and son Bobby (Matthew Meece).
Pretty soon, it's Bobby, not the scenes, that becomes sickly, which is where Eddie's plight begins. It's where Schneider's plight begins too because, every time the script asks him to emote, his TV credentials come right to the fore. The fact that the script is downright awful doesn't help either.
Macon's run takes him across a deep south populated by stereotypical rednecks, stereotypical small-town cops, stereotypical floozies, stereotypical bar-room drunks (including an impossibly young J. T. Walsh) and a stereotypical tart with a heart. Despite this, the film manages to remain entertaining, and motors along when it's focusing on the darker aspects of the tale rather than trying to pull at your heartstrings. Hot on Macon's heels is grizzly cop Marzack (Kirk Douglas). Douglas is too old for the part, and his judgment when it came to choosing roles was all shot to hell by the 80s, but he still shows Schneider up in their few scenes together.
For all the hardships Macon is forced to endure, you know there will be a happy ending. It turns out that Marzack, like Lee Purcell's tart-with-a-heart, simply envies Macon his picture-perfect family, something he managed to keep well-hidden from us all for all but the last five minutes of the film
Pretty soon, it's Bobby, not the scenes, that becomes sickly, which is where Eddie's plight begins. It's where Schneider's plight begins too because, every time the script asks him to emote, his TV credentials come right to the fore. The fact that the script is downright awful doesn't help either.
Macon's run takes him across a deep south populated by stereotypical rednecks, stereotypical small-town cops, stereotypical floozies, stereotypical bar-room drunks (including an impossibly young J. T. Walsh) and a stereotypical tart with a heart. Despite this, the film manages to remain entertaining, and motors along when it's focusing on the darker aspects of the tale rather than trying to pull at your heartstrings. Hot on Macon's heels is grizzly cop Marzack (Kirk Douglas). Douglas is too old for the part, and his judgment when it came to choosing roles was all shot to hell by the 80s, but he still shows Schneider up in their few scenes together.
For all the hardships Macon is forced to endure, you know there will be a happy ending. It turns out that Marzack, like Lee Purcell's tart-with-a-heart, simply envies Macon his picture-perfect family, something he managed to keep well-hidden from us all for all but the last five minutes of the film