I remember being excited about going to see it when it came out ('86). Went with a handful of folk to a theater in DC we had to search for --- the West End something? --- and I seem to remember we all liked it. I know this baby dyke did. (Baby bi-? Not as pithy, fer sure.) I think I'd heard ahead of time that it had a sex scene that took place in broad daylight with actual sound, and in which you could maybe even figure out pretty much what the women were up to, wonder of wonders. Stevie called the film Desert Dykes, and that's remained my affectionate nickname for it ever since.
On one hand I chuckle at how bold and "out there" the movie seemed at the time; on the other hand, I mourn that the flood of lezbo flicks since has slowed to a trickle, if that. But it was the beginning of something. Some spell of dyke cinema. And I was more than willing to look past a few moments of awkward screen acting and forced dialogue to buy into the picture. Plus the setting (in time & place) was great to be in, completely apart from the lesbian element. That kitchy cowboy decor stuff I do dig. The casino interiors, too, and the exteriors... Transport ya, they do. Or me, anyway. And the songs worked so well in it. (That's one interesting thing the commentary reveals: in the end the rights to the music cost a full quarter of the movie's budget.) Some of the tunes:
"Rave On" -- Buddy Holly
"Get Rhythm" -- Johnny Cash
"Blue Moon" -- Elvis P
"Be Bop A Lula" -- Gene Vincent
"Wondering" -- Webb Pierce
"Crazy" -- Patsy Cline
"He'll Have To Go" -- Jim Reeves
"Old Cape Cod" -- The McGuire Sisters
"It Wasn't God Who Made Honky Tonk Angels" -- Kitty Wells
"Cry" -- Johnnie Ray
"I Wished On the Moon" -- Ella
It's no deep analysis, nor even a well put-together reminiscence, but that's a little of what I'm thinking about that movie tonight.