KANSAS CITY BOMBER (1972)

Title: KANSAS CITY BOMBER

Year of Release: 1972

Director: Jerrold Freedman

Genre: Action, Drama

Synopsis: A young roller derby star dreams of becoming a champion on the circuit, but her personal life may get in the way of her ambitions.

Within a film history context: An abundance of movies over the years have been made about skating, such as the films of Sonja Henie, and roller skating, but the roller derby is a subject not often tackled in cinema. The first to deal with it was Tay Garnett's THE FIREBALL (1950). Following the exploits of a young man who becomes a roller skating champion, competing in the derby, it offered Mickey Rooney a meaty part in the main role. Many years later, in 1972, the same year that KANSAS CITY BOMBER was released, THE UNHOLY ROLLERS made its way to cinema screens. It was the tale of a young woman who becomes a roller derby champion, and details her personal, and professional lives. KANSAS CITY BOMBER was similar to these movies, particularly THE UNHOLY ROLLERS in charting the life of its protagonist, but was the best of the films about the roller derby. 

It is closest to THE UNHOLY ROLLERS in that it focuses upon a female lead character, and the audience becomes acquainted with her in an intimate manner. One finds out about her family, their place in her life, and how her relationships with others are influenced by her take on life, and decisions made. Her relationships with men are also explored, and that these are not any easier than those with the same sex. Both movies also feature a dynamic actress who ably evokes interest in the plight of the respective protagonist, and thus sympathy in the viewer. Where KANSAS CITY BOMBER diverts is in its focus upon the intricate emotional life of its lead character, K.C. Carr, and how this leads to consequences for her. While this is not to discount Karen Walker in THE UNHOLY ROLLERS, this film has more of an interest in exploitation elements such as sex, nudity, and coarse language, than presenting a fully dramatic portrait of its character. KANSAS CITY BOMBER is crisper in these areas, instead concentrating upon K.C.'s trials and travails, than permissive action. 

The sexual antics of Karen's friend, and her own are depicted in THE UNHOLY ROLLERS, but in KANSAS CITY BOMBER the affair between K.C. and team owner Burt Henry is suggested, and how the fallout from this affects other characters is clearly shown. In addition, the feelings of Hank Hopkins, and how K.C. stands up for him, is another standout segment of the movie. It takes things to another level in the film, giving depth to the characters, and the story, that it deserved. The subversive elements present in THE UNHOLY ROLLERS were not in evidence in KANSAS CITY BOMBER, such as Karen's tattoo session. In KANSAS CITY BOMBER, it was not just about a young woman wanting to buck the system to make it as with Karen in THE UNHOLY ROLLERS. K.C. in KANSAS CITY BOMBER strove to be the best she could, and came up against obstacles, but somehow managed to surpass these, which is an inspiring sentiment indeed. For these reasons, KANSAS CITY BOMBER stood above its movie counterparts as a whole.

Overview: Jerrold Freedman is the director of three motion pictures, being active in television, directing and writing for episodic prime-time programs, and helming twenty telemovies over the space of twenty-five years. Mr Freedman's second movie, BORDERLINE (1980) was an action film about a policeman on the trail of a smuggler responsible for his partner's death, with Charles Bronson in the lead role. The third, and final of Jerrold Freedman's pictures, NATIVE SON (1986) was set in the 1940s, and dealt with issues of race. A young black man assumes the role of chauffeur to a white family, but matters take a nasty turn when he unintentionally kills their daughter. His attempts to disguise his part in the crime might doom innocent parties to an unfair fate. KANSAS CITY BOMBER was Jerrold Freedman's motion picture début, and his most recognized cinematic work.

With KANSAS CITY BOMBER, Jerrold Freedman has crafted an entertaining, fast-moving film. The combination of drama, comedy, and action is well-handled by the director in his examination of the world of roller derby, and the personalities who make it come alive. While the life of lead character K.C. Carr takes center stage in the movie, there is also a rich tapestry of supporting characters who the movie spotlights in a savvy manner. The weaving of characters in an out of the narrative, and their reactions to events, give the movie balance. While the film in other hands could have been given over to the action sequences, which are plentiful in number here, one is given a sense that the people in the movie are authentic, and lead real lives away from the roller arena. K.C. Carr is portrayed as an ambitious young woman whose appearance, and persona, bring out the worst in some people without her even trying, which gives the film a realism and credence. The adage for K.C. of 'damned if you do, damned if you don't' makes matters all the more credible in the film. Sometimes whatever one does in life, others are never happy. Despite the fact that the movie does have its virtues, there are a number of flaws which do detract somewhat from its impact.

The interspersing of the personal lives of the characters between the action sequences is admirable, but in some instances, there is the sentiment that more of these scenes would have made a great film excellent. K.C.'s relationship with her mother, and son, are some of the best moments in the movie. The scene in which K.C. tries to connect with her young son, and fails in this mission, is one of the most touching parts in the entire film. Likewise, the emotional turmoil experienced by Jackie Burdette could definitely have been shown in greater detail. Jackie's drinking, and jealousy of K.C. are vividly presented, but, as with K.C. and her son, one yearns for more of these moments. The friendship of K.C. and Lovey could also have been extended as it was another true-to-life story. The relationship of K.C. and Burt Henry, though, was documented in detail, in comparison to the other threads, and not as abrupt in its resolution. In all, though, and despite several deficiencies, KANSAS CITY BOMBER does have the courage of its convictions. It is an action-packed motion picture which not only diverts but also, offers its audience a thoughtful backbone to all its visual razzle dazzle.

Acting: KANSAS CITY BOMBER boasts great performances from a talented cast. In the lead role of K.C. Carr, roller derby champion, Raquel Welch is in one of her best early roles. An actress with a poise, and dignity, which is too often overlooked in favour of her physical appearance, she is believable as an honest young woman seeking fame on the derby circuit. As the manager of the roller derby, Kevin McCarthy exudes an ease as the older man used to getting what he wants, which includes the attention of K.C. Carr. With his handsome looks and way about him, Mr McCarthy convinces as Burt Henry. As Jackie Burdette, K.C's rival on the roller circuit, Helena Kallianiotes excels. Making an impression as the volatile woman prone to fighting, drinking, and jealous spats, Miss Kallianiotes makes the most of her meaty part. Another pithy role is that of Hank Hopkins, played by Norman Alden. As K.C's only friend on the circuit, Mr Alden brings a touching slice of sympathy to Hank which gives the movie a melancholic edge. Four other actors deserve mention whose individuality infuses the movie.

Katherine Pass, as Lovey, K.C's first friend, is delivered with realism and frankness by the actress. A performer who unfortunately has not been active in movies since the 1980s, she brings a note of loyalty and real friendship to the movie. Mrs Carr, K.C.'s mother, is brought to life by character actress Martine Bartlett. An actress who played mother roles to perfection, Miss Bartlett strikes a chord as the righteous maternal figure. Randy, a Lothario with wandering hands, is made memorable by William Gray Espy. An actor who made his mark on daytime soap operas with his singular presence, here he shows cheeky magnetism as the irreverent Randy. The final acting of note was by Jeanne Cooper as Vivien, the coach of the roller derby team. As with William Gray Espy, Miss Cooper was notable for her work on daytime serials, and here shows her authority as the no-nonsense, gravelly-voiced Vivien.

Soundtrack: KANSAS CITY BOMBER has a subtle soundtrack, by Don Ellis, which is a nice contrast to the highly audible roller derby action scenes. It is generally employed during the movie's quieter moments, such as the sequence where K.C. and Burt converse on the waterfront. The boldest musical piece is the film's theme song which is played both during the opening, and closing credits.

Mise-en-scene: Attention has been duly paid to the onscreen experience for viewers in KANSAS CITY BOMBER. Cinematography by Fred Koenekamp is beautiful, the roller derby scenes colorful, but not to a garish degree. The scenes away from the roller derby have also been handled nicely, with a softer use of colour creating a point of difference with the red hues in the stadium. Editing by David Berlatsky is smooth and satisfying, giving the film a grace in this department. Costuming by Ronald Talsky shrewdly takes into account the personalities of the film's characters and their roles in the narrative. Notable instances of costuming are the stylish uniforms worn by K.C. and Jackie, Burt Henry's elegant suits, and Mrs Carr's more everyday attire. Interior locations are all excellent, from Mrs Carr's house, Lovey's houseboat, Burt's office, to the roller derby stadium. Exteriors are likewise of a high standard, with the outside of the Carr family home, and the train station just some examples.

Notable Acting Performances: Raquel Welch, Kevin McCarthy, Helena Kallianiotes, Norman Alden, Katherine Pass, Martine Bartlett, William Gray Espy, Jeanne Cooper.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

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