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As far as classic cinema goes, Jack Nicholson in an Oscar-nominated role as a character named Bad-Ass Buddosky, in a film that was held back for two years while the studios tried (unsuccessfully in the end) to water down all the fucking language, sets the mood for a much overlooked gem.

Nicholson is teamed up with Otis Young’s Mule, as two US Navymen given the thankless task of escorting to jail the naive young prisoner, Meadows: played by Randy Quaid so well here that this film is given as the reason he became typecast as the big stupid doofus he’s most known for. Along the way the two career sailors decide to show their captive some of what life has to offer before he starts on an overly-harsh eight-year incarceration. Inevitably this involves drinking, fighting and whores, and, less predictably, spiritual chanting, ice skating and a frozen barbecue.

But the plotline here is just an excuse for a rites of passage road movie, with excellent character development. Before they even set foot on the first train we’ve been firmly shown that the harsh nature of Bad-Ass & Mule is tempered by acts of humanity towards their prisoner, who himself is to be pitied for the unjust sentence he’s about to start. A rarity in cinema is that you do feel genuine sympathy towards Meadows and his escorts without any soppy romanticism in sight from anyone, in fact the bleak grey photography of shooting in biting mid-winter really does enter your soul and fill it with bitterness towards “The Man” and everyone who is against us regular folks trying to get by and maybe have some fun along the way.

Otis Young was also Oscar nominated for his role here but as the more level-headed of the threesome he holds less amusement than Quaid’s almost comic naivety & dumb innocence and Nicholson gets by far the better chances to let rip with a great range of acting. From his full blown anger and hostility in dealing with an asshole bartender to being completely disarming and likeable in the next scene laughing about it, and the wonderful drunk hotel bedroom scenes played with just the right amount of almost-falling-over stupor. It really is Jack’s film.

There’s no Top Gun gung-ho US Navy here, the sense that these are real people is overwhelming and what pulls you through not quite rooting for their side as you know that they’ll never win—you’ll be angry and you’ll laugh but it all remains too bitter, cynical and jaded to have you smiling.

Still relevant today is that throughout the film the sailors and those they meet are never happy with their lot in life but with an almost lethargic attitude about it, they’ll moan and complain about the way the world is, but never any real action is taken to change things. Even right up to the inevitable point when Meadows has grown enough mental strength to attempt escape you feel his heart isn’t really in it and there is only one end. Nothing else could happen and you knew that all along, but fuck it you’ll be angry at every chicken-shit injustice in the world as the credits roll.