8-30-05, 8:43 am
A risible redneck revival Directed by Jay Chandrasekhar
YEE Haaw? Yee Argh, more like. If you didn't get enough of this risible redneck apologia for southern-fried segregation during its 147 television episodes launched in 1979, you're hardly likely to take up with its dire cinematic successor.
Designed for deadheads with a penchant for country cousins, The Dukes of Hazzard features Sean William Scott, Johnny Knoxville and Jessica Simpson as the good ol' boys Bo, Luke and sister Daisy Duke.
The Dukes family business is moonshine, concocted and perfected as the deadliest drink in the district by their whiskery Uncle Jesse - Willie Nelson doing a passable impression of a good ol' country boy.
While the lads are out delivering the drink in their orange Dodge Charger, affectionately known as General Lee, Daisy is attracting the attention of all the low-lifes in Hazzard's finest drinking establishment The Boar's Nest.
It's owned by burly businessman Boss Hogg - Burt Reynolds in white suit and silver syrup - who's up to his usual no-good scams, this time trying to turn Hazzard County into a giant opencast mining concern.
Given the fact that the original TV series made no mention of black people, the film takes time out to explain that the confederate flag that adorns the roof of General Lee was applied without their knowledge.
This, of course is pointed out after comments by black people and liberals in the city. As with every other racist reference, the Dukes defence is included in the title song, 'We're good ol' boys ... never meaning no harm.'
Meanwhile, Boss Hogg is organising the local Hazzard County race to provide the Duke boys with the opportunity to display a stock car crunching finale, while competing with a former county champion.
With the usual range of incredible car chases - one having General Lee run up the side of a bridge and somersault over the freeway - it's about as funny as chewing on lizard gizzard.
As for dressing up and pretending that they're Japanese and black people, it's a little too obvious in its patronising acknowledgement of the TV show to say the least.
If you can make it to the predictable ending, the end credits include a range of out-takes that aren't so much superior to the rest of the movie as to be the only genuine laughs along with Willie singing the song.
From Morning Star
