Billy Jack (1971)

GP | 112 or 115 mins | Drama | May 1971

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HISTORY

The opening and closing cast credits differ in order, with the closing credits excluding the names of several of the film’s actors who portrayed villains. "T. C. Frank" and "Frank Christina," credited as director and co-writer respectively, are pseudonyms for the film's star, Tom Laughlin, as is the producer’s name Mary Rose Solti. "Teresa Christina" is a pseudonym for Laughlin's wife and co-star, Delores Taylor. Teresa Kelly, who portrays "Carol" in the film, is the Laughlins’ daughter. Actor Howard Hessemann appeared under the name Don Sturdy. Just prior to the film’s production Hessemann had been involved with a Los Angeles improvisational acting group called The Committee, which had roots in the San Francisco “improv” theater. The Committee and members of the cast are acknowledged in the closing credits for "special improvised material. For more information on The Committee refer to the entry for 1968 Funnyman (see above).
       Billy Jack opens with voice-over narration by Taylor as the character of “Jean Roberts,” which continues sporadically throughout the film. The Freedom School in Billy Jack was inspired by the Montessori method, a form of educating children that emphasizes the individuality of each child to discover and explore his or her unique gifts and talents, free from criticism or restriction. Laughlin and Taylor, longtime supporters of the method who opened the first Montessori school in Los Angeles according to a 4 Feb 1972 LAT article, incorporated many of its tenets within the story of the film, which was shot on location in Arizona and New Mexico. Although Taylor appeared as an extra in ...

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The opening and closing cast credits differ in order, with the closing credits excluding the names of several of the film’s actors who portrayed villains. "T. C. Frank" and "Frank Christina," credited as director and co-writer respectively, are pseudonyms for the film's star, Tom Laughlin, as is the producer’s name Mary Rose Solti. "Teresa Christina" is a pseudonym for Laughlin's wife and co-star, Delores Taylor. Teresa Kelly, who portrays "Carol" in the film, is the Laughlins’ daughter. Actor Howard Hessemann appeared under the name Don Sturdy. Just prior to the film’s production Hessemann had been involved with a Los Angeles improvisational acting group called The Committee, which had roots in the San Francisco “improv” theater. The Committee and members of the cast are acknowledged in the closing credits for "special improvised material. For more information on The Committee refer to the entry for 1968 Funnyman (see above).
       Billy Jack opens with voice-over narration by Taylor as the character of “Jean Roberts,” which continues sporadically throughout the film. The Freedom School in Billy Jack was inspired by the Montessori method, a form of educating children that emphasizes the individuality of each child to discover and explore his or her unique gifts and talents, free from criticism or restriction. Laughlin and Taylor, longtime supporters of the method who opened the first Montessori school in Los Angeles according to a 4 Feb 1972 LAT article, incorporated many of its tenets within the story of the film, which was shot on location in Arizona and New Mexico. Although Taylor appeared as an extra in Born Losers, Billy Jack marked her official feature film debut.
       The following information was compiled from several news items and articles from 1971--1978: According to Filmfacts, AIP, the distributor of Born Losers, was originally to release Billy Jack, but Laughlin bought himself out of the deal because of repeated "suggestions" during filming. Laughlin then made a deal with Richard Zanuck, then head of Twentieth Century-Fox. When Laughlin discovered that Zanuck intended to re-edit and re-score the film, he protested vigorously. Unable to deter Zanuck, Laughlin stole the soundtrack, prompting the producer to sell the film negative back to Laughlin for $100,000.
       Laughlin himself subsequently previewed the film in twenty cities and sent the enthusiastic preview cards to studio heads, but none expressed interest in its distribution. After Warner Bros. executive Ted Ashley privately screened Billy Jack, he urged the studio to buy it. In Mar 1971, Warner Bros. paid Laughlin $1.8 million for the film, but reneged on their original promise to full publicize the film and, with little or no fanfare, placed it in what Laughlin described as “porno houses” and drive-ins. Frustrated with the “hippie drug flick” advertising by Warner Bros., Laughlin devised his own campaign for Billy Jack and successfully raised revenue in small town theaters. Despite continued refusal by Warner Bros. to screen the film for major critics in big cities, within twenty months, due to Laughlin’s personal marketing, Billy Jack grossed over $10 million dollars, making it a surprise box-office success.
       According to a Feb 1972 HR news item, Laughlin and Taylor sued Warner Bros. for $51 million dollars, accusing the studio of falsely representing intentions for distribution and promotion of Billy Jack and a 'monopolistic block booking' whereby the film was sold for fees drastically below those of other successful pictures.” DV’s 2 Feb 1972 article on the suit lists the amount as $34 million. According to articles in DV and HR on 21 Dec 1972, Warner Bros. settled the suit out of court, and in Jan 1973, the studio devised a re-issue of Billy Jack with a new advertising campaign valued at over $70,000. An Apr 1972 DV item stated that Elizabeth L. James filed suit against Laughlin and National Student Film Corp. for $900,000 claiming that in 1966 she had entered an oral agreement to write and compose literary works for films in which the profits would be equally divided. The outcome of the suit is unknown.
       By Mar 1973, with the film playing in major city theaters, Billy Jack grosses exceeded all expectations. In Jun 1973 Warner Bros. and Laughlin’s Billy Jack Productions were asked by the Federal Trade Commission to soften the advertising campaign which described the film as “the most popular picture of our time,” and compared its public impact to major blockbuster films like The Sound of Music and The Godfather. According to a Nov 1973 Var news item, the film was predicted to be on the road to becoming “a $60 million phenomenon,” credited largely to Laughlin’s marketing and heavy booking saturation. In 1976 Laughlin brought another suit against Warner Bros. for $94 million, based on the film’s sale to television. The suit was settled in Aug 1978, according to articles in both DV and HR.
       Reviews of Billy Jack ranged from dismissive to enthusiastic. The Washington Post reviewer called the film “a horrendously self-righteous and devious action movie,” and maintained it was as much an exploitation movie as Born Losers, the 1967 American International production that introduced the character of “Billy Jack” (see below). As with Billy Jack, Laughlin’s producer and director credits were under pseudonyms. Var acknowledged Billy Jack was clearly a “labor of love,” but found it heavy handed and overly long. The Jul 1971 NYT review praised Laughlin and Taylor, in particular, then noted that “some of the non-professional delivery of lines…is incredibly awful,” and found the violence predictable. The 13 Aug 1971 LAT review called the film “crude and sensational, yet urgent and pertinent [and]…in its unique, awkward way one of the year’s important pictures.” In a second, later review, critic Charles Champlin acknowledged the film was “wildly and justifiably successful,” and noted that in a year that saw the release of several brutally violent films, Billy Jack demonstrated “alternatives to violence” and was “a stunning piece of work.”
       After the box-office success of Billy Jack, Laughlin and Taylor re-teamed for a sequel, entitled The Trial of Billy Jack (see below), which was released in 1974 by Laughlin and Taylor’s own company. A third sequel produced in 1976, Billy Jack Goes to Washington was never released in theaters. In a 20 Jun 2005 NYT interview with Laughlin and Taylor, they announced their intention to produce another “Billy Jack” sequel, out of frustration with political and social events, including the 2003 Iraqi war.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
28 Jul 1971
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Daily Variety
2 Feb 1972
---
Daily Variety
4 Apr 1972
---
Daily Variety
21 Dec 1972
---
Daily Variety
12 Feb 1973
---
Daily Variety
8 Mar 1973
---
Daily Variety
9 Mar 1971
---
Daily Variety
1 Jun 1973
---
Daily Variety
22 Aug 1978
---
Filmfacts
1971
pp. 430-33
Hollywood Reporter
10 Mar 1971
---
Hollywood Reporter
30 Apr 1971
p. 3
Hollywood Reporter
2 Feb 1972
---
Hollywood Reporter
4 Feb 1972
---
Hollywood Reporter
21 Dec 1972
---
Hollywood Reporter
8 Jan 1973
---
Hollywood Reporter
8 Mar 1973
---
Hollywood Reporter
22 Aug 1978
---
Los Angeles Herald Examiner
13 Aug 1971
---
Los Angeles Times
13 Aug 1971
Part IV, p. 10
Los Angeles Times
9 Jan 1972
---
Los Angeles Times
4 Feb 1972
---
New York Times
29 Jul 1971
p. 42
New York Times
20 Jun 2005
---
New Yorker
27 Nov 1971
p. 148
Newsweek
30 Aug 1971
p. 76
Variety
5 May 1971
p. 22
Variety
7 Nov 1973
p. 1, 63
Village Voice
19 Aug 1971
p. 47
Washington Post
7 Aug 1971
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Assoc prod
Assoc prod
PHOTOGRAPHY
Dir of photog
Dir of photog
FILM EDITORS
Asst ed
COSTUMES
Ward
MUSIC
Mus comp and cond
VISUAL EFFECTS
Titles and opticals
PRODUCTION MISC
Prod mgr
Scr supv
Prod supv
Prod asst
Indian snake ceremony
of Shoshone Nation
Wovoka Friendship Dance
of Paiute Nation
Hapkido karate
of Korea
Pub dir
SOURCES
SONGS
"One Tin Soldier," words and music by Dennis Lambert and Brian Potter, sung by Jinx Dawson of Coven; "Johnnie" and "Look, Look to the Mountain," words and music by Teresa Kelly, sung by Teresa Kelly; "When Will Billy Love Me" and "A Rainbow Made of Children," words and music by Lynn Baker, sung by Lynn Baker; "Freedom over Men," words and music by Gwen Smith, sung by Gwen Smith; "The Ring Song," words and music by Katy Moffatt, sung by Katy Moffat; "Mary and the Jesus Babe," words and music by Robbyn Etelson, sung by Robbyn Etelson.
PERFORMED BY
+ −
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
May 1971
Premiere Information:
World premiere in Cincinnati: 28 April 1971
Production Date:
May 1970
Copyright Info
Claimant
Date
Copyright Number
National Student Film Corporation
28 April 1971
LP43345
Physical Properties:
Sound
Color
Technicolor
Duration(in mins):
112 or 115
MPAA Rating:
GP
Country:
United States
Language:
English
SYNOPSIS

In rural Arizona, local sheriff Cole informs his deputy, Mike, that Mike’s runaway, fifteen-year-old daughter, Barbara, has been located in San Francisco and is being flown home. Although relieved, Mike declines to meet his daughter, preferring instead to join the town’s wealthiest citizen, Stuart Posner, in a slaughter of wild mustangs in order to sell the dead horses to a dog food company. After herding the horses into a corral, Posner orders his son Bernard to participate, but Bernard refuses, angering his father. As Posner and his men are about to fire on the horses, Billy Jack, a half-Indian, Vietnam veteran appears and, at rifle-point, demands that the men disperse as they are on Indian reservation lands illegally. Although frustrated, Posner backs down and as he and his men depart, Billy frees the horses. Mike returns home to find Barbara, but his welcome turns sour when she announces that she has contracted hepatitis and is pregnant. Outraged, Mike beats Barbara, who flees and is later found semi-conscious by Billy who takes her to the town doctor. After tending to Barbara, the doctor recommends to Billy that, as Mike’s behavior will likely continue, Barbara should be secretly taken to the Freedom School, a progressive learning center on the reservation run by the kind Jean Roberts. Cole takes the sullen Barbara to the school, where children of all races and ages intermingle and the only rules forbid drugs and ask that everyone take up a creative activity. Initially hostile, Barbara grows curious when Jean and the students introduce her to yoga and psycho-drama role-playing. Asked by the drama teachers to join ...

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In rural Arizona, local sheriff Cole informs his deputy, Mike, that Mike’s runaway, fifteen-year-old daughter, Barbara, has been located in San Francisco and is being flown home. Although relieved, Mike declines to meet his daughter, preferring instead to join the town’s wealthiest citizen, Stuart Posner, in a slaughter of wild mustangs in order to sell the dead horses to a dog food company. After herding the horses into a corral, Posner orders his son Bernard to participate, but Bernard refuses, angering his father. As Posner and his men are about to fire on the horses, Billy Jack, a half-Indian, Vietnam veteran appears and, at rifle-point, demands that the men disperse as they are on Indian reservation lands illegally. Although frustrated, Posner backs down and as he and his men depart, Billy frees the horses. Mike returns home to find Barbara, but his welcome turns sour when she announces that she has contracted hepatitis and is pregnant. Outraged, Mike beats Barbara, who flees and is later found semi-conscious by Billy who takes her to the town doctor. After tending to Barbara, the doctor recommends to Billy that, as Mike’s behavior will likely continue, Barbara should be secretly taken to the Freedom School, a progressive learning center on the reservation run by the kind Jean Roberts. Cole takes the sullen Barbara to the school, where children of all races and ages intermingle and the only rules forbid drugs and ask that everyone take up a creative activity. Initially hostile, Barbara grows curious when Jean and the students introduce her to yoga and psycho-drama role-playing. Asked by the drama teachers to join in a role-playing exercise, Barbara refuses, insisting that she is only at the school because she is “knocked-up.” She is startled when the group promptly makes up a Christmas-like story of a virgin birth leading to a new savior whom they welcome with raised, clenched fists. One day Barbara and some of the other girls watch Billy and Jean talking and speculate that they are romantically involved. The next day, the students arrive in town and their exuberance and “hippy” attire immediately set the conservative townspeople on edge. Teenager Martin and some of the girls go to an ice cream store, where they are refused service because several of them are Indian. Bernard and his friend Dinosaur arrive and taunt Martin, then strike him and pour flour over him and the other Indian children. Driving into town, Billy spots Martin and the others and comes to their assistance, attacking Bernard and Dinosaur. Billy then retreats to the park, where Posner and a group of his men wait. Dismayed by Bernard’s quick collapse, Posner threatens Billy, who responds by knocking him down. The men then charge Billy who holds many of them off until he is struck from behind and beaten until Cole and Mike arrive and intervene. Back at the school, Martin attempts to ride a horse but is thrown and breaks his leg. When Jean takes him to the doctor, he cautions her that Mike suspects that Barbara is hiding out at the school. Later, Cole serves Jean with a warrant to search the school, but tells her that she can refuse because the school is on Indian land. Jean allows the search, unaware that the recovered Billy has spirited Barbara away to the ancient Indian caves in the hills. Mike then announces a thousand dollar reward for information on Barbara’s whereabouts. At a public meeting of the town council addressing the ice cream store incident, an injunction to restrict student visits is announced. The meeting grows fractious when many of the students protest, but several council members agree to Jean’s suggestion that they visit the school to witness its operation. The next day, the council members respond positively to the school’s atmosphere and after several join an improvisation routine, they suggest to Jean that the school put on a show to demonstrate their methods to the entire town. That afternoon, Jean looks for Billy at the caves and, finding Barbara, invites her to witness Billy’s Indian purification ceremony later that day. At the ceremony, Billy, who has been prepared with medicine and a poultice, endures several rattlesnake bites in order to receive a personal vision that will guide his life. After his experience, Billy addresses the tribal elders, unaware that on a hill overlooking the site, Bernard watches with a hunting rifle and vows revenge. Later, when Bernard and Dinosaur see Martin cavorting with Barbara, they inform Mike and the next time the students visit the town, Mike threatens Martin. At the school, the students agree that they must take advantage of the tentative goodwill from the townspeople and agree to stage several public “improv” routines in the park. During one of the performances, Bernard talks one of the female students into riding with him in his sports car, and, brandishing a switchblade, demands she reveal Barbara’s location. As Bernard forces the girl to remove her shirt, Jean arrives, followed shortly by Billy. When Billy indicates he must “teach Bernard a lesson,” Jean points out that violence will only destroy the advances that she and the students have made with the town and suggests Billy drive Bernard’s car into the lake instead. Billy delightedly agrees and later a furious Posner berates Bernard for being humiliated by a “half-breed.” A couple of days later, Bernard and Dinosaur wait on the ridge near the school, hoping to come upon Billy. When Jean rides by on horseback, they stop her at gun point and, after making her strip, bind her to stakes on the ground where Bernard brutally rapes her. Meanwhile, Martin tries to teach Barbara to ride a horse, but she falls, causing her to miscarry. Searching for Jean, one of the students, Cindy, is horrified to find her still bound, as Bernard and Dinosaur flee. Jean tearfully pleads with Cindy not to tell Billy of the attack, certain that he will kill Bernard and she will lose the school. Later, the students, Billy and Jean conduct a cremation ceremony for Barbara’s baby at the Indian caves. Mike hears of the event and bitterly tells several people the cremation was to disguise the baby’s non-white race. Angered, Mike joins Bernard and Posner the night of the school’s show to kidnap Martin and Cindy and hold them overnight. The next day, Posner and Mike demand Martin reveal Barbara’s location and, angered, Cindy takes one of Posner’s rifles, urging Martin to flee in a truck. As the boy drives away, Cindy is attacked by one of Posner’s men and Bernard and Dinosaur race after Martin and confront him near the lake. When Cole receives a report of gunfire, he investigates and finds Martin shot to death. At the school, Cindy berates herself for Martin’s death, but Billy assures her that she is not to blame. Acknowledging that he knows of Jean’s rape, Billy sets off in search of Bernard. Jean implores Billy not to use violence, but Billy explains that as long as the law remains unfairly applied and inequitable he has no choice but to resist with violence. Billy finds Bernard in a shabby hotel room in bed with a thirteen-year-old Indian girl and kills him with one blow to the neck. Meanwhile, Cole and several deputies arrive at the school with numerous warrants and a court order turning Barbara over to the courts pending an investigation of Mike as unfit. Billy sneaks back on the school grounds and finds Barbara, who declares she wants to hide with him. As they sneak away, Mike spots them and shoots at Billy. Taking a couple of rifles and several boxes of ammunition, Billy returns fire and kills Mike. After Billy and Barbara hide out in the school church, Jean receives permission to meet with Billy to seek Barbara’s release, but when Barbara insists on remaining, Jean berates Billy for giving in to his violent tendencies rather than seeking the more difficult avenue of restraint. State police soon arrive and despite Cole’s protest, mount an assault on the church, but after Billy wounds several officers, the attack is called off. After Barbara receives a mild wound, Billy agrees to have her removed yet refuses to surrender. That night Jean stays with Billy and when he explains he has never had her calm spirit but always felt rage, she dismisses his assumption, claiming she felt great hatred for Bernard after his assault. She says despite this, she decided to put the children and the school before her hate and wonders if Billy could do the same. The next morning the police agree to Billy’s surrender terms, which ask for a decade-long guarantee assuring the school will survive with Jean as its head, and he surrenders peacefully. As Billy is taken away in handcuffs, the students stand and salute him with clenched fists.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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