48 pages • 1 hour read
James DickeyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The 1972 film Deliverance, directed by John Boorman and scripted by James Dickey, is arguably better known than the novel it is based on. While Dickey, who also has a cameo in the film, was involved in its creation, his screenplay was rewritten by Boorman to omit the novel’s “Before” section and the psychological depth of character it develops through dialogue-driven narrative and Ed’s introspective monologues. The film focuses instead on the action-oriented Parts 2-5. The film’s opening credits roll alongside a voiceover of the men planning their trip. Within 20 minutes of the film’s beginning, the four arrange for their cars to be driven downriver and start their journey.
Like the novel, the film explores Conflicting Ideals of Masculinity through its focus on the four friends’ ability to withstand or succumb to the dangers they encounter in the wilderness. However, its focus here too is on action rather than psychology, contrasting with the novel’s deeper analysis of masculinity and male friendship. For instance, Ed’s internal monologue in the novel reveals his admiration of Lewis’s physique; the film omits this monologue, focusing instead on the men’s comradery in the face of danger.
In other ways, the film aligns with the book. It portrays the raw adventure and violence of the canoe trip, capturing the fearsome river rapids, the sexual assault of Bobby Trippe, and the ambiguity surrounding Drew’s fall from the canoe. The film also vividly portrays Lewis’s broken leg and reflects the novel’s caricature of rural Georgians as primitive, clannish, and potentially criminal.
The casting choices in the film highlight both similarities and differences from the novel. Burt Reynolds embodies Lewis’s adventurous masculinity, whereas the slight, fair-haired Jon Voight, who at the time was in his early thirties, contrasts with the novel’s solid, middle-aged Ed. Ronny Cox and Ned Beatty play Drew and Bobby, respectively, with Cox conveying Drew’s fairness and open-mindedness, and Beatty’s physique matching the novel’s descriptions of Bobby.
Deliverance takes place during a time of transition in the American South. After the Civil War (1861-1865), the southern United States remained more rural and agrarian and less industrial and economically successful than the North. Following World War II, however, the South, including states like Georgia, experienced rapid industrialization and urbanization as southerners moved to larger cities to seek employment and northerners migrated south in search of warmer climates and new job opportunities. These factors contributed significantly to rising education and income levels in the South. Urban centers such as Atlanta became symbols of southern prosperity and home to a successful professional class. In contrast, rural areas of the South, such as those depicted in Deliverance, remained poorer, and their populations were less educated. Rural southerners were sometimes stereotyped in popular culture as throwbacks to a preindustrial era of isolation and ignorance (Green, John C. and James L. Guth. “The Transformation of Southern Political Elites.” The Disappearing South? Studies in Regional Change and Continuity, edited by Robert P. Steed, Laurence W. Moreland, and Tod A. Baker, University of Alabama Press, 2012, pp. 34-53).
Tensions between these two versions of the South—one urban and modern and the other poor and geographically isolated—play out in the interactions between Ed, his three friends, and the rural people they encounter on the canoe trip. When the four men arrive in the town of Oree, Bobby and Drew try to communicate with the old man they encounter at the gas station. When Bobby compliments the man on the way he wears his hat, the man is contemptuous, suggesting that rural people think little of the opinions of city folk. Drew, however, makes a connection to what Dickey suggests is “authentic” rural southern culture through music. Drew’s guitar duet with the strange-looking young man is an example of his identification with the local people. The young man, Lonnie, is a skillful banjo player, and Drew is ecstatic about playing with him. However, Drew does not survive the trip, suggesting the tenuousness of such connections.
On that note, Lewis is defiant toward the locals, who in turn resist his pushiness, suggesting a mutual animosity between rural and urban southerners. When Lewis offers $20 to one of the Griner brothers to drive the cars to the end point of the canoe trip, the brother says he will take $50, to which Lewis responds with indignation. Ed embodies still another attitude toward the rural south: He is afraid of the rural people and views them as threatening, noting that he was “scared to death” when Lewis appears ready to argue with Griner over the money (59). Ed’s apprehension about the locals manifests in thoughts about their physical imperfections. When he sees the old man at the gas station, he thinks, “There is always something wrong with people in the country,” further observing, “In the comparatively few times I had been in the rural South I had been struck by the number of missing fingers” (50). These reflections suggest that Ed, like Lewis, sees himself as different from and superior to the rural people he encounters.
The novel acknowledges the poverty of the rural South through references to the Tennessee Valley Authority (TVA), a government-owned power company that provides power to several southern states. Controversially, the TVA bought land under value from poor families to dam it and provide hydroelectric power. The fictional river that the men canoe down in Deliverance is being impounded by an electric utility, nodding to the TVA’s hydroelectric projects, and Lewis observes that the damming projects have caused resentment among locals because many rural cemeteries had to be moved.
Deliverance is an example of Southern Gothic literature. Like the European Gothic from which it derives, Southern Gothic literature foregrounds elements of the supernatural and strange, often using highly descriptive language to elicit feelings of unease and dread. A quintessential theme of Southern Gothic narratives involves the intrusion of a suppressed, ominous history into the present: Slavery and its aftermath, class tensions, and destruction of the natural environment commonly feature.
Deliverance explores these themes of class struggle and environmental change through its use of the grotesque. The grotesque is a staple of Gothic literature, which often focuses on objects, people, or situations that are portrayed as uncomfortable, abnormal, and even monstrous. Grotesque elements in Deliverance reveal the characters’ hidden fears, desires, and primal instincts, which lie beneath the veneer of civilization. For example, Ed and his friends encounter rural people who strike them as physically abhorrent and sexually deviant. Ed describes the “twisting illness” that affects some of the people they see, while others have lost limbs in labor accidents. The entire rural South thus becomes in Ed’s mind a place of grotesques: “the country of nine-fingered people” (50). That these people lost their fingers doing manual labor underscores the classist nature of Ed’s revulsion, which is not merely a response to the sight of disability but rather to people he considers beneath him—even subhuman.
The novel’s descriptions of the Southern landscape also evidence the grotesque. While the river is depicted as breathtakingly beautiful, it also has a darker, menacing side. This dichotomy is typical of Southern Gothic literature, where the natural environment mirrors the decay of old societal structures and the erosion of “traditional values.” The river and the wilderness in Deliverance are untamed and unpredictable, embodying the chaos and moral ambiguity that the characters must navigate.