Strumming his guitar and singing the songs he made famous, Hank Williams (Sneezy Waters), together with his band, entertains an audience at a typical roadside bar in this fictional account of what might have been, if the night of December 31, 1952 had been a little different. On that night in real life, Williams traveled by car from Montgomery, Alabama to perform a show in Charleston, West Virginia. He died en route.
Director David Acomba uses that cold, snowy nighttime road trip as a structural frame, with Williams in the backseat talking about his life, his problems, his dreams, and his regrets. These brief interludes punctuate the fantasy performance at the bar, wherein individual songs introduce new sequences, in lieu of standard script plot points.
Aside from the terrific music, what's really striking is the excellent cinematography. My best guess is that the DP used 16mm, low saturation film stock, resulting in grainy visuals, combined with sepia-toned hues of mostly browns, tans, and grays. There's little variation in the color palette. The photography creates a melancholy, almost depressing mood, and implies a dreamlike journey back in time.
The film's costumes and prod design reflect the reality that the Great Depression had not completely gone away. Threadbare clothes, a wooden floor, plain overhead lights and other props imply hard times. Even Williams' outfit, though countrified, is not flashy.
One would be hard pressed to find a better actor than Sneezy Waters for the role of Williams. His looks and that Southern vocal delivery scream Hank Williams.
Minor complaints include my understanding that the film was not shot in the American South. I think it should have been. Second, I could have done without the little monologues Williams imparts to the audience. And the film's ending is a tad too doleful for my taste.
The early 1950s were tough for working folks. Hank Williams, with his heartfelt, down-home songs came along at just the right time with just the right music for the common man and woman. This film captures not only the Hank Williams persona but also an era that is gone forever.
Director David Acomba uses that cold, snowy nighttime road trip as a structural frame, with Williams in the backseat talking about his life, his problems, his dreams, and his regrets. These brief interludes punctuate the fantasy performance at the bar, wherein individual songs introduce new sequences, in lieu of standard script plot points.
Aside from the terrific music, what's really striking is the excellent cinematography. My best guess is that the DP used 16mm, low saturation film stock, resulting in grainy visuals, combined with sepia-toned hues of mostly browns, tans, and grays. There's little variation in the color palette. The photography creates a melancholy, almost depressing mood, and implies a dreamlike journey back in time.
The film's costumes and prod design reflect the reality that the Great Depression had not completely gone away. Threadbare clothes, a wooden floor, plain overhead lights and other props imply hard times. Even Williams' outfit, though countrified, is not flashy.
One would be hard pressed to find a better actor than Sneezy Waters for the role of Williams. His looks and that Southern vocal delivery scream Hank Williams.
Minor complaints include my understanding that the film was not shot in the American South. I think it should have been. Second, I could have done without the little monologues Williams imparts to the audience. And the film's ending is a tad too doleful for my taste.
The early 1950s were tough for working folks. Hank Williams, with his heartfelt, down-home songs came along at just the right time with just the right music for the common man and woman. This film captures not only the Hank Williams persona but also an era that is gone forever.