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“Fireball 500/ Disclose Alley.” These two movies recount the final two features that Annette Funicello made for the legendary indie American International Pictures. But instead of ending her career kicking around the sand, she found herself covered in dust from NASCAR tracks.
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“Fireball 500″ can be considered the last of the Beach Party films since it was directed by William Asher and features Frankie Avalon, Annette and Harvey Lembeck except they aren’t discontinuance to their normal surf and sand creations. Lembeck is no longer nutty biker Erik Von Zipper. He’s a Southern bootlegger who also deals in racing. Frankie plays a racecar driver working his contrivance down to Daytona. These are the early days of NASCAR before sponsors made life so mighty easier for the drivers. So instead of getting cash from Budweiser like Dale Jr., Frankie scores extra bucks by hauling moonshine for Lembeck.
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There is a different tone between these films and it’s not merely going from sand to asphalt. You can feel the dividing line between “Fireball 500″ and “How to Stuff A Wild Bikini” during a fight between Frankie and Harvey. Instead of the slapstick mayhem of those early films, “Fireball 500″ shows these two men are out to distress each other. They’re not aiming at the funnybone. No longer is Lembeck frozen by a touch of the finger. Now there is blood on their lips. Annette doesn’t have too remarkable of a role. This racing movie is not her vehicle.
The same can be said about “Content Alley.” Fabian (Frankie’s racing rival in Fireball 500) plays a racer who has a pesky blackout scrape as he circles the hardtop. So he tries to fabricate a comeback by being section of a stunt display that features Annette. There’s even a wild party that gets out of control - especially compared with those soda drinking kids on Bikini Beach. Richard Run directed this final AIP - Annette feature. He’s the same guy who a decade later would give us “The Stunt Man” - one of the cinematic greats about the madness of a movie on set.
Both films reach off as a dinky more hard-edged than an Elvis movie. (And both were made before Elvis roared into the NASCAR circuit with “Speedway.”) But neither is ugly in their portrayals - especially when you contemplate that a month after “Fireball 500,” AIP would achieve out Roger Corman’s “The Wild Angels” - a biker film that didn’t flinch in its debauchery and violence. While the films were released a year apart, it seems the films were shot stop to each other since they involve the same track in Southern California and the same footage of NASCAR events at Daytona and Darlington.
If there is a major buying point for these films, it is this astonishing footage of early NASCAR. Both films feature Richard Petty’s blue 43 as their racer’s car. During that period of time, Petty dominated so the filmmakers were guaranteed that their character’s car would be zipping underneath the checkered flag when they shot the dependable hurry. However this footage also includes a tribute to Johnny Reb complete with his confederate battle flag. So this isn’t the original multi-racial Nextel NASCAR. This is not for the squeamish or those who want to consider that this sport wasn’t from hardcore Southerners.
This review is only about “Fireball 500″ (1966), technically the best production to ever near out of “American International”. The cinematography looks as top-notch as the best Hollywood productions from that period; with unexpectedly salubrious shot selection and nice close-ups that you would ask to search for now but were highly new attend in 1966.
This is a film that should be shown to would-be film and video editors, as there are few finer examples of matching stock footage with first and second unit output; all done by linear editing (try it some time if you want a actual challenge) . When a coarse budget film tries to be high budget by inserting stock footage it is usually a distress, but here there is a delicate edifying match of film stock and the track announcer’s audio makes the action sequences easy to follow. You might peer Fred R. Feitshans Jr’s editing style from the archaic “Adventures in Paradise” television reveal.
The myth is ordinary-straight action adventure and romance, no comedy like AIP’s beach movies even though it does feature alumni Frankie, Annette, and Harvey Lembeck. There are three fine Hernrig and Styner songs: “Fireball 500″, “My Procedure”, and “Turn Around”; sung by Frankie with support on the last one from Julie Parrish. Annette sings “Step Lawful Up” which mostly leaves you amazed that anyone ever bought her records.
As usual Annette is very buttoned-up and chaste but Parrish is hot enough to carry the whole film. Interestingly Annette pairs up with Fabian and Frankie gets Julie. Fabian also has a group of racetrack groupies who follow him around, four of the them are mid-60’s Playboy centerfolds with one of those the Playmate of the year.
Frankie gets into a serious fight with both Fabian and Lembeck. These are decently staged and prick but unnecessary to the yarn and rather amusing when you think the participants. Casting these two singers was apparently an attempt to expand the target audience from teenage boys and stock car fans by including something for teenage girls. This was at best a lame view since by 1966 those two were considered wimpy has-beens compared to “Herman’s Hermits”, let alone the “Beatles” and the “Stones”.
There is tons of enthralling stock car footage, making “Fireball 500″ a nice historical archive. Overall it was a fun film to stare but nothing you would pick very seriously.
Then again, what do I know? I’m only a child.
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