The 1981 Documentary ‘Heartworn Highways’ Follows Country Icons as They Kickstart the Outlaw Movement

In May 1981, filmmaker James Szalapski finally released his documentary Heartworn Highways. The film was made in 1975 and early 1976, but Szalapski didn’t give it a formal release until six years later. As a cult classic film, it remains a spectacular look into the early formation of the outlaw country movement.

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For the uninitiated, the outlaw country music movement was country music’s most memorable countercultural moment in the 20th century, complete with country musicians who didn’t fit Nashville’s status quo.

Heartworn Highways followed several singer-songwriters who were embracing early country folk instead of following in the previous generation’s footsteps. These artists included Guy Clark, Townes Van Zandt, Steve Earle, David Allen Coe, Rodney Crowell, Gamble Rogers, Steve Young, and the Charlie Daniels Band.

The film often jumped around from artist to artist as they played gigs in prisons and high school gymnasiums. For example, one scene showed Charlie Daniels performing in a packed gym before transitioning to David Allen Coe playing at Tennessee State Prison.

‘Heartworn Highways’ Followed Future Outlaw Country Icons as They Performed in Texas and Tennessee

Heartworn Highways continues with parties, concerts, and recording sessions. Outlaw artists impart homespun wisdom about the industry, country music, and authenticity. It’s an important look into the culture at the time as it grew.

Texas and Tennessee were both hotbeds for the outlaw movement, birthing many of today’s country icons. Willie Nelson is one famous musician who immediately comes to mind as a prominent figure of Texas outlaw country, and he’s still producing music and performing today.

Heartworn Highways‘ cult status has a lot to do with the later success of its subjects. However, contemporary reviews have posited that Szalapski’s film doesn’t emphasize the artists’ names for a reason.

“While the songwriters Szalapski follows are exceptional, there is the sense that he could have just as effectively been following any number of other young artists or communities,” according to a 2021 review in the Austin Chronicle. “The documentary pushes into the moment, which, if not timeless, is at least removed from time. The lack of context as the camera rolls is the point.”

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