The Getaway

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This film has it all, and I cannot understand those who say it hasn’t mature well. It’s a grand bank robbery film. It’s a huge prison film. It’s a ample scramble film. It’s a mammoth admire memoir. It fires on all cylinders. The depth and complexity of the myth and the performances are peerless. It’s a sprawling story over several days, with many considerable and complex characters, all of whom you feel you know with some depth. Even the tiny roles are standouts, including Ben Johnson as the twisted sherriff, and Dub Taylor in what should have been a throwaway fragment playing a hotel clerk. The only extinct plot for me over the years is Ali McGraw who, although blooming and believable, seems to be playing it so minimalist that she becomes nearly transparent. But that’s a petite nit to buy – her by-play with McQueen is position on. When I saw it for the first time the first notion that came into my mind was “these kids really witness and act MARRIED…” which is a tough bit of business to play. Their violent like for one another is the undercurrent here, their desire to simply be left alone, to acquire it in life, to accept away from their problems.

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The artistry is in the details, in the minute brush strokes – the device McQueen holds and uses his .45 automatic are perfect. He is definitely more than objective another actor handed a pistol and said “Here, beget this…” Slim Pickens has a cramped gem of a role at the slay and in a few brief sentences we learn volumes about his sweet, gloomy life, and cheer his pleasant fortune for running into our heroes. The Sherriff’s flunky sidekicks provide some impartial humor, all immense 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 plan of acting. He’s the master of the shrimp gesture, the subtle spy, the deadpan line that impartial turns you icy inside. What a shame he left us so soon. The Getaway stands as a steady testament to his genius.

Unpredictable, volatile, abrasive, and the only man Charlton Heston ever threaten on a residence of a movie (Major Dundee) …I’m talking about `Bloody’ Sam Peckinpah…savor him or disapprove him, the man knew how to sing a epic, 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 consider these same, snobby critics actually got off secretly on being able to appreciate the more visceral elements of his films while smooth 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 current…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 aesthetic dirty, sweaty, dust-caked, fly-ridden seediness…based on a unique by Jim Thompson (The Grifters) and adapted for the hide by Walter Hill (The Warriors, 48 Hrs.), The Getaway (1972) stars Steve McQueen (The Shapely Seven, The Expansive Sprint), the man many own to be the penultimate in machismo and chilly, on and off the cloak. Co-starring with McQueen is the very ravishing Ali MacGraw (Cherish Sage, 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 Sizable Gatsby (1974) …yes, the lure of the McQueen is a strong one…also appearing is Peckinpah current Ben Johnson (Major Dundee, The Wild Bunch, Junior Bonner), quintessential heavy Al Lettieri (The Godfather, Mr Majestyk), Sally Struthers (Five Easy Pieces), whose most fresh 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 Lustrous (The Godfather), `Rub a Dub’ Dub Taylor (The Wild Bunch), Jack `Howard Sprague’ Dodson (“The Andy Griffith Note”), 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 cleave a deal with a politically great and unfriendly individual named Jack Beynon (Johnson), who objective 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 substantial amount of cash, things speedy descend 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 rotten is in, but McCoy isn’t going down without a struggle, and he’s certainly not going wait on to the joint. Now McCoy and his wife Carol (MacGraw) must manufacture their plan to El Paso with the money, avoiding remove 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 difficulty to gain 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 aloof an splendid film with strong themes and honest an all around sharp legend, assisted by salubrious cast. One thing I’ve noticed about Peckinpah is his ability to recount well-known aspects of tale through visual means, carefully crafted shots and sequences, and execute it gape easy. A perfect example in this movie is the opening sequences with McQueen’s character in prison. We learn considerable 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 deem this was unbiased a case of having to section the mask with McQueen, and who could complete with that? Not many…I deem 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 yarn drags at clear points, and the action sequences uneven and too short, but I’d disagree. I view the strength was in the tranquil moments before the storm, the pacing intentional, to allow for the audience to accomplish an plan of the characters and peruse them not as two-dimensional constructs but living, breathing individuals willing to do what they have in order to earn what they want…to me, the action sequences, while certainly a arrangement for me to this film, were a portion of a remarkable larger section. There were a couple of really arresting aspects about this movie for me, one being that while Peckinpah’s trademark usage of boring motions shots during the violent sequences is expose, it seemed a exiguous toned down from some of his other films, but that wasn’t a awful thing. The 2nd aspect was the sort of upbeat ending, which was a proper departure given that many of Peckinpah’s films are permeated with fatalistic characters map down inevitable paths of self-destruction. Some scenes to stare 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 puny misogyny, and while I would never advocate the spend 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 sizable film (great better than the 1994 Kim Bassinger/Alec Baldwin remake, in my belief), with an exceptional script, acting, and direction, one that entertained me throughout, and reaffirms my concept of the possibilities of the cinema when in the hands of people who know (or knew) what they’re doing…

The narrate, presented in widescreen anamorphic (2.40:1), enhanced for 16 X 9 televisions, looks spicy and well-kept, 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 Slice Redman, and Peckinpah biographers/historians Paul Seydor, Garner Simmons, and David Weddle. Also included is an new 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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