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Lolly-Madonna XXX (1973)

Two rustic families, headed by patriarchs Laban Feather and Pap Gutshall, are feuding. At first, it is comical, with just the sons of the two families playing tricks on each other. But soon... See full summary »

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, (novel) | 1 more credit »
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Cast

Cast overview:
...
Laban Feather
...
Pap Gutshall
...
Zack Feather
...
Thrush
Katherine Squire ...
Chickie Feather
...
Elspeth Gutshall
...
Skylar Feather
...
Ludie Gutshall
...
Hawk Feather
Joan Goodfellow ...
Sister E. Gutshall
...
Roonie Gill
...
Finch Feather
...
Zeb
...
Villum Gutshall
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Storyline

Two rustic families, headed by patriarchs Laban Feather and Pap Gutshall, are feuding. At first, it is comical, with just the sons of the two families playing tricks on each other. But soon the Feather boys decide to kidnap a girl. She turns out to be innocent bystander Roonie Gill, not the made-up girlfriend "Lolly Madonna." As events escalate, Zack Feather and Roonie fall in love and try to bring the others to their senses. Will Roonie discover Zack's dark secret, the reason for the painful feud between the two families which once were close friends? Written by Dan Kuttner (KutRite@yahoo.com)

Plot Summary | Plot Synopsis

Taglines:

A simple prank... a game...nobody won. See more »


Certificate:

PG | See all certifications »
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Details

Country:

Language:

Release Date:

21 February 1973 (USA)  »

Also Known As:

The Lolly-Madonna War  »

Filming Locations:


Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Metrocolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

This movie is based on the novel, "The Lolly Madonna War," written by Sue Grafton. Sue Grafton is author of the popular "alphabet mysteries" featuring female P.I. Kinsey Millhone. See more »

Quotes

Roonie Gill: My name is Roonie Gill. I was just changing buses on my way to Nashville. Actually, I didn't care much where I was going. It just felt good to be on my own for the first time. I never heard of the Feather family or the Gutshalls before that. I found out later that Ludie Gutshall had planted a postcard in the Feather mailbox to get them away from the still. He signed it Lolly-Madonna - and that's who they thought I was. By the time I knew what was happening, there wasn't much I could do about it...
See more »

Connections

Featured in The Moviemakers (1973) See more »

Soundtracks

Peaceful Country
Written by Kim Carnes and David Ellingson
Sung by Kim Carnes
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User Reviews

 
One of the criminal neglects in DVD history.
2 May 2010 | by (Greece) – See all my reviews

This one starts out like the distant inbred cousin of Deliverance from West Virginia come out on the porch to play the banjo. A menacing beat-up flatbet truck runs circles around a girl killing time in a remote bus stop on her way to Nashville. There's promise of backwoods squalor and meanness and the delivery of it, not exploitation graphic and gratuitous but it's there, the passerby girl is snatched, another girl is raped, a moonshine still is busted, and a backwoods yokel with painted eyes and a bra makes a scene. At that point the Feathers family appears to be only a few generations of inbreeding away from moving down to Texas to make lampshades out of human skin and chase Marilyn Burns with a buzzing chainsaw.

Then, as the two feuding families headed by patriarchs Rod Steiger and Robert Ryan begin to spar about stolen hogs and a postcard written to one Lolly-Madonna and a grassy meadow that at one time belonged to one or the other family, something begins to change like a dark cloud passes over the movie. It's not about the futile anguish and madness of vendetta, although it seems so at first. And it's not about hogs or the grassy meadow or even land as a basic abstraction and what it's come to signify for people who had nothing to call their own for generations but land. It's about the creeping realization of a broken life muttering to itself late at night on a rocking chair by the window that "it's too late", that it's too late not for killing and dying but for even words.

It's about something that happened long ago which can't be made right again, and it has something to do with a son who never came back from the war, about brothers who can never measure up to that son who never came back from the war because they stayed behind, about a dead wife who was more important to the father-in-law than the son who lost her, that much more important that the father-in-law had to sacrifice that which was the most important thing in the life of the other son (the one who never amounted much for anything) to repudiate the killing. And about horses. It's about bitter regret pain and anguish gnawing at the insides and then the grassy meadow is set on fire and the two families meet for a standoff outside the old rundown Feathers home, once probably elegant with wealth happiness and good fortune.

In the end, the look on Rod Steiger's eyes turns from anger and sadness to complete madness and Sarafian gives us freeze frames of the main characters that look like portraits of despair, the colors are drained out and the movie turns sepia yellowish as if in memory of something lost, of that small insubstantial detail that involved horses and the dead wife that was the result not of practical design or coincidence but of the pure blind chance of the cointoss that forever changed the lives of two families. Immense sadness. Or like William Faulkner would say, between grief and nothing, Lolly-Madonna XXX will choose grief.


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