Plot
Korean War veteran Lucas Doolin (Robert Mitchum) works in the family moonshine business— delivering the illegal liquor his father distills to clandestine distribution points throughout the south in his souped-up hot rod. However, Lucas has more problems than evading the U.S. Treasury agents ("revenooers"), led by determined newcomer Troy Barrett (Gene Barry). Lucas is concerned that his younger brother Robin (James Mitchum), who is also his mechanic, will be tempted into following in his footsteps and becoming a moonshine runner.
A well-funded outside gangster, Carl Kogan (Jacques Aubuchon), tries to gain control of the independent local moonshine producers and their distribution points, and is willing to kill anyone who stands in his way. The stakes rise when an attempt by Kogan to kill Lucas results in the death of a government agent as well as another moonshine driver.
In a romantic subplot, Lucas becomes involved with nightclub singer Francie Wymore (Keely Smith). He is unaware one of the neighbor girls, Roxanna Ledbetter (Sandra Knight), has a crush on him and fears for his life.
When a series of government raids destroy their hidden stills, Lucas' father and the other local moonshines shut down production "for a spell" to let the government deal with Kogan in its own time, but Lucas is forced by circumstances and his own code of honor to make a final run.
Read more about this topic: Thunder Road
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)