The Last Run

George C Scott plays Harry Garmes, a former getaway driver who comes out of retirement to prove to himself he hasn't lost his touch. He lives in a small Portugese fishing village, but he isn't fulfilled; he views retirement as preparation for death and goes behind the wheel again to inject some vitality into his existence. What promises to be a straightforward job, however, brings him unexpected challenges. The film boasts suspenseful car chases, impressive cinematography, a good script and a compelling performance from George C Scott as the cynical driver who gets more than he bargains for as he chauffeurs an escaped prisoner and his girlfriend across country. The film is thought-provoking, it deals with love, death, regret, frustration and determination, and coupled with tension and suspense makes it a memorable ride.

A really excellent film, written by the wonderful and neglected Alan Sharp (see Night Moves). Scott is great and in an era of endless explosions and car chases, this is a welcome, intelligent relief.

Richard Fleisher did several good early noir films before his late career as a hack TV director. Also, this background reminds one of Frears film The Hit. (or is it The Last Hit?)...anyway,the writing is first rate, as always with Sharp and the characters quite memorable. Why is it so overlooked? This is the kind of genre piece that simply doesn't get made anymore. All performances are solid --- and I also have to wonder at the career of Richard Fleisher. From something as good as this, to his late work will remain a filmic enigma.

This film almost should have been in black and white! Very solid throwback to the gritty film-noir gangster films of the 40's. The ever brilliant George C. Scott tackle's the Bogartesque protagonist with style - a retired gangland getaway-driver lured out of retirement by personal reasons for one 'Last Run' in Spain in which he has to transport a escaped killer and his moll across the border to France.

Of course nothing ever goes quite as planned and Scott soon find's his assignment calling for him to make some tough choices in the face of mounting odd's and hidden dangers. This film benefits from it's strong cast, fantastic camera-work by the great Sven Nykvist(Bergmann films), great location scenery in Spain and an economical screenplay from the talented Alan Sharp(Night Moves). Underrated director Richard Fleischer gives the film a great Hemingway type atmosphere and does a good job with the action scenes. Interestingly John Huston started this film and left after three weeks into the production following rows with Scott, Sharp and the producers over wanting to have the script re-written by his eighteen year old son! Overall this is a good solid thriller that works and is waiting to be rediscovered.

The Last Run was originally a John Huston project, but in the end it was taken up and completed by maverick director Richard Fleischer. Often, a change of personnel affects the film, but in this case, Fleischer has fashioned a decent thriller with picturesque locations and a tight plot.

It's all about a getaway driver from Chicago who has settled down to a peaceful life in a Portugese fishing village. He is hired to drive a gangster and his girlfriend to the French border, under total assurance that the job is strictly routine. However, it turns out that the whole thing is a set-up, and that the gangster is the target of some killers. Getaway driver, gangster, and gangster's girlfriend all flee back to Portugal, pursued by their enemies.

The characters are quite cold and cynical and don't appeal to the audience a great deal. This hurts the film, because it's awfully hard to care a damn about what happens to them. The film also suffers from a typically downbeat ending (as, indeed, many films from this era do). However, it has exciting moments and is always pleasing to the eye. The chase plot is gripping throughout and really helps to compensate for some of the not-so-good aspects.

Other viewers' comments, both negative and positive, have aptly classified this film's genre. Those with inclination toward existentialist thought (e.g., why are we here and what are the best options before embracing the void?) generally like it. I think the film great and wish it were available on DVD. Others find it vapid. Yet I think the theme similar to that found in Blade Runner or Pierrot le Fou - though different from, say, Kafka's Metamophosis, or The Trial, or from Camus' The Stranger, etc., in that this film's protagonist undergoes emotional development - along with another character who fears her fate and sees no other path to follow.

Our protagonist's past life as an underworld character is significant not in the cops-and-robbers sense, but rather as an earmark of his "loner" personality - like Camus' Stranger. He's a retired individualist - like Blade Runner's Deckard - who after a career on the "outside" is sucked against his will into a melee of action and intrigue. All he'd longed for was to finish out his days in peace - in Portugal - though one can wonder if his automotive hobby (his surrogate child) and petty daily ritual could really have sustained him - yet such is the trap some see themselves born into; perhaps an earlier, unexpected coup de grace isn't to be under-appreciated.