As far back as 1906, there have been movies based on songs, such as the silent short Waiting at the Church, based on the music hall song of the same name by Vesta Victoria. Over the years, the genre has expanded to include more well-known movies, such as Alice’s Restaurant, Yellow Submarine, The Night the Lights Went Out in Georgia, and Born in East L.A.
To this atypical list, we must also add the 1984 made-for-TV-movie, The Baron and the Kid, directed by Gary Nelson and starring Johnny Cash as William “The Baron” Addington.
Based on Cash’s 1980 song “The Baron,” the title track of his 1981 Columbia Records album of the same name, The Baron and the Kid was derided by pundits as a feeble attempt to follow in the footprint of Kenny Rogers’ The Gambler (1980) – another movie based on a song – and rope in those same fans. (There is something inherently in the story-driven DNA of C&W songs that lends themselves to movie translation. See also Convoy; Ode to Billy Joe; and Take This Job and Shove It.)
In any event, this criticism is not entirely unfounded. The Baron and the Kid follows the basic sentimental father-son drama as The Gambler in that it casts Cash as an ex-pool hustler determined to rectify the wrongs of his violent, alcoholic past life by establishing a relationship with his son, Billy Joe “The Cajun Kid” Stanley (Greg Webb), who his ex-wife Dee Dee Stanley (June Carter Cash) had kept a secret for 18 years.
Wish I had a known ya
When you were a little younger
Around me you might have learned
a thing or two
If I had known you longer
You might be a little stronger
And maybe you’d shoot straighter
Then you doooo
Not surprisingly, that reunion doesn’t go swimmingly well at first, especially since the Cajun Kid, now a successful small Southern town hustler, has no interest changing his cue stick ways and listening to the Man in Black.
Apparently, when there is “nothing to lose, everything to win,” the only way to forge a father-son bond and remedy almost two decades of absence is to bond over billiards on the road and get “in the zone…a combination of what experience tells you to do, the ego wants you to do, and the nerves will let you do.” This includes competing against Dr. Pockett (played by the perfectly named Earl Poole Ball, Johnny Cash’s pianist of 20 years) in a double-elimination tournament; playing a “10-game freeze out” against the menacing Frosty (memorably and most ironically played by Richard Roundtree a.k.a. “Shaft”) and his posse of rednecks; and trading shots with trick-shot legend Mike Massey, who makes a cameo as a rival 9-ball player.
Regardless of the predictable plot, the fact is any billiards movie starring Johnny Cash gets a thumbs-up from me. And, without question, this is a billiards movie. It opens with an incredible series of pool shots performed by Cash (reflecting the brilliance of technical adviser Mike Massey). There are then frequent pool games and demonstrations of pool prowess, including the introduction of Tracy Pollan (future spouse of Michael J. Fox) as pool-shooting Southern belle Mary Beth Phillips. And, of course, like so many other billiards movies (e.g., The Color of Money; Up Against the 8 Ball; Kiss Shot), there is the culminating final tournament, in this case, the National Pocket Billiards 9-Ball Championship
And while the movie is rather hackneyed, it does introduce one aspect of pool that I’ve not seen in other movies – namely, the practice of ”jarring,” in which a player has his opponent’s drink spiked with drugs (e.g., amphetamine) to make him overconfident so that he’ll undertake impossible shots. I couldn’t turn up much research on the practice, though a handful of message boards confirmed that “jarring” was done through the 1980s. Of course, today in sports, the issue is less about drugging one’s opponent than it is about self-doping…yes, even in billiards. Just ask German billiards champ Axel Buescher, who was stripped of his national carom billiards title in 2008.
The Baron and the Kid is widely available to rent or buy online.
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