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HISTORY

Hairdresser Lola "Skip" McNalley's name was incorrectly listed as "Lola Skip McNallay" in the onscreen credits. In the credits, the filmmakers acknowledge the assistance of the National Skating Derby Inc. and its president, William J. Griffiths. According to a 31 Mar 1971 DV article, Curtwel Productions, a company owned by actress Raquel Welch and her then husband, Patrick Curtis, purchased the script for Kansas City Bomber from Barry Sandler, a college graduate student at the time, who had written it as his master’s thesis, with Welch in mind as the star. A 25 May 1971 DV article stated that Warner Bros. had concluded negotiations to release the film, and Roger H. Lewis had been selected to be the producer. However, according to DV news items in Dec 1971 and Jan 1972, M-G-M recently had taken over the production from Warner Bros. Lewis was not listed onscreen, and no additional information about his involvement in the released film has been found. Although the company name Curtwell Productions was used for Welch's film Hannie Calder (see above), which was shot in England in early 1971 but not released in the U.S. until Jun 1972, screen credits and other post-production sources for Kansas City Bomber list her company's name as Raquel Welch Productions, Inc. It is possible that the name Curtwell was dropped following Welch's and Curtis' divorce in 1972. According to Filmfacts, Vilmos Zsigmond was at one time set to be the film's cinematographer.
       The 31 Mar 1971 DV article reported that San Francisco roller derby promoter Jerry Seltzer attempted to ...

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Hairdresser Lola "Skip" McNalley's name was incorrectly listed as "Lola Skip McNallay" in the onscreen credits. In the credits, the filmmakers acknowledge the assistance of the National Skating Derby Inc. and its president, William J. Griffiths. According to a 31 Mar 1971 DV article, Curtwel Productions, a company owned by actress Raquel Welch and her then husband, Patrick Curtis, purchased the script for Kansas City Bomber from Barry Sandler, a college graduate student at the time, who had written it as his master’s thesis, with Welch in mind as the star. A 25 May 1971 DV article stated that Warner Bros. had concluded negotiations to release the film, and Roger H. Lewis had been selected to be the producer. However, according to DV news items in Dec 1971 and Jan 1972, M-G-M recently had taken over the production from Warner Bros. Lewis was not listed onscreen, and no additional information about his involvement in the released film has been found. Although the company name Curtwell Productions was used for Welch's film Hannie Calder (see above), which was shot in England in early 1971 but not released in the U.S. until Jun 1972, screen credits and other post-production sources for Kansas City Bomber list her company's name as Raquel Welch Productions, Inc. It is possible that the name Curtwell was dropped following Welch's and Curtis' divorce in 1972. According to Filmfacts, Vilmos Zsigmond was at one time set to be the film's cinematographer.
       The 31 Mar 1971 DV article reported that San Francisco roller derby promoter Jerry Seltzer attempted to get a court order to block production on the film and sought fifteen million dollars in damages, alleging that the film violated the Roller Derby trademark and made unauthorized use of the "Bomber" name used in Seltzer's Roller Derby League. An 8 Mar 1972 Var article stated that Seltzer was still involved in the fifteen million dollar suit against the producers of Kansas City Bomber, but the outcome of this suit remains undetermined. For more information about Seltzer and the Roller Derby League, see the entry above for the 1971 documentary Derby, a film that Seltzer commissioned.
       According to a 19 Feb 1972 LAT article, the production was postponed until April 1972 due to Welch breaking her wrist while skate training for the film. According to the Var review, Welch did most the skating for her character. M-G-M publicity material noted that many of the other roller derby players in the film were portrayed by top skaters from the Los Angeles Thunderbirds, Philadelphia Warriors, Baltimore-Washington Cats, Cleveland Bucks, New York Bombers and Northern Hawks. In addition, Japanese and Australian skating stars also skated in the film. Character actor Dick Lane, who appeared as "Len," was also a well-known Los Angeles television personality who announced wrestling and roller derby in the 1950s and 1960s. His signature "Whooooaaaah Nellie," often used during Los Angeles Thunderbirds games, became a popular refrain in sports broadcasting. A modern source adds Joan Darling to the cast.
       Kansas City Bomber was shot on location in Portland, OR and marked the feature film directorial debut for Jerrold Freedman. The film also marked the first feature of then child actress Jodie Foster, although her first released feature was another 1972 film, Napoleon and Samantha (see below). Several reviewers compared Kansas City Bomber to They Shoot Horses, Don't They? (see below), a 1969 film about a Depression-era dance competition that also revealed the fraudulent nature of an amateur spectator sport and the desperate personal circumstances of its participants.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
14 Aug 1972
p. 4513
Daily Variety
31 Mar 1971
---
Daily Variety
25 May 1971
---
Daily Variety
6 Jan 1972
---
Filmfacts
1972
pp. 258-60
Films and Filming
Jan 1973
---
Hollywood Reporter
22 Feb 1971
---
Hollywood Reporter
7 May 1972
p. 9
Hollywood Reporter
2 Jun 1972
p. 13
Hollywood Reporter
31 Jul 1972
---
Life
8 Sep 1972
---
Los Angeles Examiner
23 Aug 1972
---
Los Angeles Times
19 Feb 1972
---
Los Angeles Times
23 Aug 1972
---
New York Times
3 Aug 1972
p. 26
Variety
8 Mar 1972
---
Variety
2 Aug 1972
p. 18
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Exec prod
Exec prod
Exec prod
PHOTOGRAPHY
Dir of photog
Cam op
ART DIRECTOR
FILM EDITOR
Film ed
SET DECORATOR
Prop master
COSTUMES
Cost des
MUSIC
Mus
MAKEUP
Makeup
Hair styles
Lola "Skip" McNalley
Hairdresser
PRODUCTION MISC
Asst to the prods
Loc coord
Casting
Skating coord
Unit prod mgr
Unit pub
Locs
SOURCES
SONGS
"Rounds and Spheres," music by Don Ellis, lyrics by Maria Eckstein, sung by Jeff Thomas; "Your Way Ain't My Way, Baby," music by Don Ellis, lyrics by Howard Liebling and Jeff Thomas, sung by Jeff Thomas; "All Night Market," music by Don Ellis, lyrics by Howard Liebling, sung by Jeff Thomas.
PERFORMED BY
SONGWRITERS/COMPOSERS
+ −
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
August 1972
Premiere Information:
New York opening: 2 Aug 1972; Los Angeles opening: 23 Aug 1972
Production Date:
mid Apr--early Jun 1972 in Portland, OR
Copyright Info
Claimant
Date
Copyright Number
Metro-Goldwyn-Mayer, Inc.
14 August 1972
LP41033
Physical Properties:
Sound
Color
Metrocolor
Lenses/Prints
Filmed with Panavision equipment
Duration(in mins):
99
MPAA Rating:
PG
Country:
United States
Language:
English
PCA No:
23323
SYNOPSIS

After losing a five-lap challenge with Big Bertha Bogliani, gum-smacking Kansas City Ramblers roller derby player K.C. Carr is traded to the Portland Loggers, managed by the suave and conniving businessman Burt Henry. On her way to Portland, K.C. stops in Fresno, CA to visit her two children, who are staying with Mrs. Carr, K.C.'s bitter mother. Although the children are proud of K.C.'s career, her youngest, Paul, is so fearful of his mother getting hurt in the rink that he refuses to speak to K.C. during her visit. Heartbroken but desperate to make a living from something other than menial labor, K.C. proceeds to Portland, where Burt introduces her to the Loggers team. Forced to play for the rival Portland team, the Renegades, until a contract dispute can be settled, K.C. is eyed suspiciously by most of the Loggers, except for Lovey, who offers her a place to stay at her houseboat. In K.C.'s first match, Jackie Burdette, the Loggers’ captain and star player, clobbers K.C., who Jackie fears has been hired to replace her. When a brawl ensues between Jackie and K.C. during the men’s game when K.C. tries to defend one of her male teammates, the crowd wildly cheers, prompting Burt to encourage K.C. and Jackie to continue their animosity on the rink even after K.C. joins the Loggers. Once alone with K.C., Burt confides that he has brought her to Portland to make her the star of the team. Although K.C. comfortably settles in with Lovey at the houseboat, the Loggers games are filled with escalating violence between her and Jackie. The animosity toward K.C. continues out of the rink with unwanted sexual advances from ...

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After losing a five-lap challenge with Big Bertha Bogliani, gum-smacking Kansas City Ramblers roller derby player K.C. Carr is traded to the Portland Loggers, managed by the suave and conniving businessman Burt Henry. On her way to Portland, K.C. stops in Fresno, CA to visit her two children, who are staying with Mrs. Carr, K.C.'s bitter mother. Although the children are proud of K.C.'s career, her youngest, Paul, is so fearful of his mother getting hurt in the rink that he refuses to speak to K.C. during her visit. Heartbroken but desperate to make a living from something other than menial labor, K.C. proceeds to Portland, where Burt introduces her to the Loggers team. Forced to play for the rival Portland team, the Renegades, until a contract dispute can be settled, K.C. is eyed suspiciously by most of the Loggers, except for Lovey, who offers her a place to stay at her houseboat. In K.C.'s first match, Jackie Burdette, the Loggers’ captain and star player, clobbers K.C., who Jackie fears has been hired to replace her. When a brawl ensues between Jackie and K.C. during the men’s game when K.C. tries to defend one of her male teammates, the crowd wildly cheers, prompting Burt to encourage K.C. and Jackie to continue their animosity on the rink even after K.C. joins the Loggers. Once alone with K.C., Burt confides that he has brought her to Portland to make her the star of the team. Although K.C. comfortably settles in with Lovey at the houseboat, the Loggers games are filled with escalating violence between her and Jackie. The animosity toward K.C. continues out of the rink with unwanted sexual advances from her male teammates and insufferable insults from Jackie. Agreeing to meet Burt for dinner one night, K.C. is easily led into a night of lovemaking at his opulent apartment. When Burt drives K.C. back to the houseboat, Lovey catches them kissing in the car, prompting Burt to trade Lovey to a Denver team the next morning. When K.C. offers to talk to Burt on Lovey’s behalf, Lovey accuses K.C. of being behind the trade in the first place. Days later on the Loggers team bus, K.C. tries to comfort the childlike Horrible Hank Hopkins, whose animal behavior in the rink prompts the crowd's laughter and humiliating taunts. Hank, who is ostracized by most of his teammates, worries that Burt will soon trade him, if he cannot, as Burt has suggested, add more "color" to his performance by overreacting to the audience's chants and hog calling. After several games on the road, the team arrives in Fresno, where K.C. visits her children and her mother, who reprimands K.C. for failing the children and not returning home. When Mrs. Carr refuses to listen to K.C.'s pleas that she just wants a "piece of the action," K.C. leaves heartbroken. Soon after, K.C. confronts Burt about trading Lovey. Burt claims that he was jealous of her friendship with Lovey and promises to make K.C. the star of his new franchise in Chicago, where she can bring her children to live with her. Days later when the tour bus breaks down, a drunken Jackie stumbles along the road accusing K.C. of using her sexual prowess with Burt to have Lovey traded. Jackie's tirade angers K.C. and in the ensuing fight, the two women tumble down an embankment onto a railroad track, where team manager Vivien and K.C. narrowly pull the barely conscious Jackie off the tracks before a train rushes by. Days later, back on the Portland rink, Hank pummels a few competitors to help K.C., who kisses him on the cheek. Emboldened by the attention, Hank plays even more aggressively, prompting the opposing team to beat him mercilessly and the crowd to throw food. K.C. tries to help the now cowering Hank, but when an opposing player throws a drink in her face, Hank goes mad, nearly killing the man and raging deliriously at the crowd. In the locker room that night, K.C.'s teammates blame her for the team's demise and for Burt's decision to make Hank a "free agent," effectively banishing him from the sport. When K.C. begs Burt to retain Hank, reminding him that he asked Hank for "color," he tells her that everyone is used in the game, implying that Hank is expendable. The next day, Burt speaks with a distant K.C., asking her to throw a one-on-one match with Jackie and promising that the "loser" will be banished to Chicago, where she will become the new franchise's star. Although Burt assures her that he loves her in his own way, K.C. accepts the deal, even though she finally realizes that Burt's real intentions are purely exploitative. After Jackie and K.C. insult each other over the intercom at the next match, a five-lap challenge is set up between the women. In the locker room on the night of the challenge, K.C., tired of manipulating her talents for everyone but herself, asks Jackie to skate in earnest to win and Jackie agrees. After four laps of hitting and swinging each other out of the rink, a fistfight ensues on the rink floor during which K.C. reaches out only inches in front of Jackie to grasp the finish line ribbon. As K.C. holds the ribbon high above her head, proud that she has won the match fairly, the crowd loudly chants her name.

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

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.