A young Paul Schrader burst onto the Hollywood scene with his critically acclaimed screenplay for 1976’s “Taxi Driver”. Only one year later, “Rolling Thunder” was released, a gritty yet surprisingly thoughtful revenge thriller that Schrader originally penned in 1973. Schrader’s script was said to be a companion piece to “Taxi Driver” and even included a cameo by Robert De Niro’s Travis Bickle.

Interestingly George Romero was first in line to direct and later Schrader himself was attached. It eventually fell to John Flynn whose previous film was 1973’s “The Outfit”. Heywood Gould was hired for rewrites and a well-rounded cast was put in place. The final product wasn’t as dark and ruthless as Schrader envisioned, yet violence is in the very fabric of the story. But it’s the unexpected focus on the characters that makes “Rolling Thunder” stand out.

The movie opens in 1973 with Major Charles Rane (William Devane) and Sergeant Johnny Vohden (Tommy Lee Jones) returning home to Texas after spending seven tortuous years in a Hanoi POW camp. As the Vietnam vets arrive at the San Antonio airport, they’re greeted by an excited crowd from their hometowns who welcome them with a red carpet, a high school band, some local politicians, and a briefcase full of silver coins. Charlie and Johnny put on their best face before finally going their separate ways with their families.

Despite his best efforts to readapt to normal life, Charlie’s reunion with his family doesn’t go as he had hoped. His son Mark (Jordan Gerler) was only eighteen months old when his father deployed making Charlie feel like a stranger. But even worse, his wife Janet (Lisa Blake Richards) tells him that she’s been seeing another man – a local sheriff’s deputy named Cliff (Lawrason Driscoll) – and the two are engaged to be married.

And then the movie takes its first violent turn. One afternoon Charlie comes home to find a group of armed thugs led by actor James Best waiting for him. They’re after the silver coins, and when Charlie refuses to give them up, they beat and torture him, going as far as grinding up his hand in a garbage disposal. Janet and Mark unexpectedly arrive and are taken by gunpoint. The thugs eventually get the coins and then violently gun down Charlie and his family.

Most of the story takes place after a wounded Charlie wakes up in the hospital where he spends months in rehab. Not only does he learn that Janet and Mark are dead, but he has also lost his hand which forces him to wear a prosthetic arm. In what feels like an oversight, the movie never gives Charlie that one needed moment to mourn. It’s true that a big point of the story is how Charlie (and by extension combat veterans) keeps many of his emotions pent-up. But we never see the devastation that should come from such loss.

But we do see Charlie’s hunger for revenge which intensifies with the realization that his family’s murderers were never caught. So he decides to take matters into his own hands, and with the help of Vohden and a flirty local barmaid named Linda (Linda Haynes), he sets out to Mexico to pay back the thugs who took everything from him. From there the movie’s revenge-a-matic roots kick into gear and the curbed drama turns towards a violent conclusion.

The performances are mostly strong starting with Devane. David Carradine was among the original choices to play Charlie, but Devane brings everything the role needs. On the outside he’s very cordial and almost business-like with his emotions. But the repression of his character’s scarred psychology is what makes the performance special. Jones is also good, speaking volumes through his pained expressions. And the underrated Haynes adds a jolt of fresh energy and sexual tension. Dabney Coleman even pops up briefly as Charlie’s military psychiatrist.

It’s unfortunate to see “Rolling Thunder” lumped in among the many “Death Wish” clones. There are undeniable similarities, but it’s hardly a fair assessment. The movie is just as much a character study as it is a revenge thriller. Its themes are straightforward but insightful, plowing deep into the post-Vietnam alienation felt by many veterans. At the same time, there’s no denying its exploitation inspiration which pours out in the ultra-violent final 15 minutes. It doesn’t gel seamlessly with everything that came before it, but it does offer the audience a satisfying payoff.

VERDICT – 3.5 STARS