This film has it all, and I cannot understand those who say it hasn’t dilapidated well. It’s a mountainous bank robbery film. It’s a stout prison film. It’s a ample rush film. It’s a sizable worship record. It fires on all cylinders. The depth and complexity of the memoir and the performances are peerless. It’s a sprawling legend over several days, with many significant and complex characters, all of whom you feel you know with some depth. Even the miniature roles are standouts, including Ben Johnson as the hooked sherriff, and Dub Taylor in what should have been a throwaway part playing a hotel clerk. The only outmoded set for me over the years is Ali McGraw who, although attractive and believable, seems to be playing it so minimalist that she becomes nearly transparent. But that’s a microscopic nit to capture – her by-play with McQueen is state on. When I saw it for the first time the first belief that came into my mind was “these kids really ogle and act MARRIED…” which is a tough bit of business to play. Their violent esteem for one another is the undercurrent here, their desire to simply be left alone, to effect it in life, to fetch away from their problems.
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The artistry is in the details, in the little brush strokes – the draw McQueen holds and uses his .45 automatic are perfect. He is definitely more than unbiased another actor handed a pistol and said “Here, own this…” Slim Pickens has a minute gem of a role at the destroy and in a few brief sentences we learn volumes about his sweet, shaded life, and cheer his obliging fortune for running into our heroes. The Sherriff’s flunky sidekicks provide some objective humor, all huge cowboy hats and beer guts crammed into a Cadillac convertible.
McQueen was such an artist, and this is a dependable masterpiece of his almost haiku intention of acting. He’s the master of the petite gesture, the subtle notice, the deadpan line that unbiased turns you wintry inside. What a shame he left us so soon. The Getaway stands as a right testament to his genius.
Unpredictable, volatile, abrasive, and the only man Charlton Heston ever threaten on a area of a movie (Major Dundee) …I’m talking about `Bloody’ Sam Peckinpah…treasure him or abhor him, the man knew how to sing a yarn, one that could entertain not only the average film patron with loads of action and violence, but also the haughty, oft-times snobby film critics with his thoughtful and insightful characterizations…actually, I mediate these same, snobby critics actually got off secretly on being able to devour the more visceral elements of his films while unexcited being able to tout them on a cerebral level…like a guilty pleasure without the guilt. But that’s not to say Peckinpah’s films were always critically common…I know his film Bring Me the Head of Alfredo Garcia (1974) took a beating, but I enjoyed the hell out of it, in all its exquisite dirty, sweaty, dust-caked, fly-ridden seediness…based on a original by Jim Thompson (The Grifters) and adapted for the camouflage by Walter Hill (The Warriors, 48 Hrs.), The Getaway (1972) stars Steve McQueen (The Beautiful Seven, The Immense Speed), the man many hold to be the penultimate in machismo and chilly, on and off the conceal. Co-starring with McQueen is the very ravishing Ali MacGraw (Esteem Tale, Convoy), who became so enamored with her co-star she actually left her husband at the time, movie producer Robert Evans, to be with McQueen, and thus gave up the opportunity to star in several high profile films like Chinatown (1974) and The Mammoth Gatsby (1974) …yes, the lure of the McQueen is a strong one…also appearing is Peckinpah accepted Ben Johnson (Major Dundee, The Wild Bunch, Junior Bonner), quintessential heavy Al Lettieri (The Godfather, Mr Majestyk), Sally Struthers (Five Easy Pieces), whose most current work include the tearful pleas to feed the starving children (which would probably be a lot more effective if she wasn’t so heavyset…there I said it), Slim Pickens (Blazing Saddles), Richard Incandescent (The Godfather), `Rub a Dub’ Dub Taylor (The Wild Bunch), Jack `Howard Sprague’ Dodson (”The Andy Griffith Explain”), and Bo ‘Knows’ Hopkins (The Wild Bunch, White Lightning) .
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The film begins with scenes of a Texas prison, focusing on one inmate in particular, that of Carter ‘Doc’ McCoy (McQueen), who’s in his fourth year a ten-year stretch for bank robbery. After being denied parole, Doc agrees to sever a deal with a politically considerable and infamous individual named Jack Beynon (Johnson), who unprejudiced happens to also be a member of the parole board (that’s convenient) . The deal involves, on being released from prison, that McCoy pull a bank job for Beynon, which he does, and while McCoy’s meticulous planning nets the robbers a expansive amount of cash, things swiftly tumble apart as there’s a couple of jokers in the deck (one of them being one of the men McCoy got saddled with by Beynon), and the double nasty is in, but McCoy isn’t going down without a struggle, and he’s certainly not going support to the joint. Now McCoy and his wife Carol (MacGraw) must gain their diagram to El Paso with the money, avoiding catch by the authorities (by this time McCoy’s face is plastered all over the news), Beynon’s trigger-happy goons, and one of the aforementioned jokers, all in a grief to construct it safely across the border into Mexico.
While not my popular Peckinpah film (I’ve always been partial to The Wild Bunch), The Getaway is tranquil an satisfactory film with strong themes and honest an all around engrossing narrative, assisted by righteous cast. One thing I’ve noticed about Peckinpah is his ability to report distinguished aspects of account through visual means, carefully crafted shots and sequences, and manufacture it see easy. A perfect example in this movie is the opening sequences with McQueen’s character in prison. We learn mighty about him, and feel a sense of the frustration and oppressive nature of his incarceration on his mental well-being to where desperation finally pushes him to the point of doing something he would normally wouldn’t in that of working for Beynon. Of course, this wouldn’t have worked as well with out McQueen playing the role, as his presence is the strong point throughout the film. I’ve heard some comment of MacGraw’s acting abilities (or lack of), but I reflect this was unprejudiced a case of having to piece the camouflage with McQueen, and who could complete with that? Not many…I reflect she did really well, avoiding some over dramatic pitfalls others would have succumbed to in the role…and then there’s supporting cast and the sense they were truly hand picked for their roles, providing, complex, distinctive, and believable characters. I’ve also heard complaints about how the legend drags at definite points, and the action sequences uneven and too short, but I’d disagree. I opinion the strength was in the still moments before the storm, the pacing intentional, to allow for the audience to do an notion of the characters and look them not as two-dimensional constructs but living, breathing individuals willing to do what they have in order to obtain what they want…to me, the action sequences, while certainly a blueprint for me to this film, were a portion of a noteworthy larger fragment. There were a couple of really sharp aspects about this movie for me, one being that while Peckinpah’s trademark usage of uninteresting motions shots during the violent sequences is point to, it seemed a slight toned down from some of his other films, but that wasn’t a abominable thing. The 2nd aspect was the sort of upbeat ending, which was a steady departure given that many of Peckinpah’s films are permeated with fatalistic characters way down inevitable paths of self-destruction. Some scenes to eye for…Steve McQueen going to town with a shotgun…oh yeah, kiss that squad car good-bye (quite a few cars were killed in the making of this film) …Steve McQueen slugging Sally Struthers in the mouth…hey, you can’t have a Peckinpah film without a miniature misogyny, and while I would never advocate the employ of violence against a woman, I doubt there’d be few who wouldn’t agree that her highly annoying (and fairly sleazy) character was somewhat deserving…all in all this is a mammoth film (worthy better than the 1994 Kim Bassinger/Alec Baldwin remake, in my view), with an exceptional script, acting, and direction, one that entertained me throughout, and reaffirms my opinion of the possibilities of the cinema when in the hands of people who know (or knew) what they’re doing…
The describe, presented in widescreen anamorphic (2.40:1), enhanced for 16 X 9 televisions, looks moving and smart, and the Dolby Digital 1.0 audio comes through very well. The `Deluxe Edition’, which is the one I have, has a few extra features in that of a commentary track with producer Reduce Redman, and Peckinpah biographers/historians Paul Seydor, Garner Simmons, and David Weddle. Also included is an fresh theatrical trailer, along with a `virtual’ audio commentary track with Sam Peckinpah, Steve McQueen, and Ali MacGraw that consists of 1972 audio interview material from the three, spliced together and played over the film.
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