Guet-apens

The film centers about a robber named "Doc" McCoy (Steve McQueen) is paroled from a Texas state prison , somewhat to his surprise . His spouse , Carol (Ali McGraw) , has arranged for his freedom by sleeping with the corrupt but politically well connected Jack Benyon (Ben Johnson) . Ben Johnson assigns him a heist helped by Al Lettieri and Bo Hopkins but he's betrayed and the events burst .

In the motion picture there is suspense , drama , thriller, car pursuits and amount of violence reflected in slow-moving shots typical of Peckinpah . From the beginning to the end the action-packed is interminable . The final confrontation at hotel between the starring , Steve McQueen , Ali McGraw and the enemies is breathtaking and overwhelming . The picture has been classified ¨R¨ for crude murders and isn't apt for little boys , neither squeamish . However , it was rated PG by the MPAA in the United States. A few years later, in retrospect, this was considered a mistake and the board believed that the film should have been rated one step higher, an R . Steve McQeen and Ali McGraw's (marriage in real life) interpretation is top-notch . Sam Peckinpah direction is excellent though is better in Western films (Wild bunch , Pat Garret and Billy the Kid , Bring me the head Alfredo Garcia and Major Dundee).

The movie obtained success and originated a remake featured by Alec Baldwin and Kim Basinger (marriage in real life, too) although failed at box office . The yarn will appeal to action buffs and Peckinpah fans . Rating : 7/10 .Well catching

Steve McQueen and Sam Peckinpah teamed to do two straight films, probably some of the best work in both of their careers. But the difference in a nice character study like Junior Bonner and a tough crime drama like The Getaway shows the versatility of both these remarkable men. The Getaway seems to take its inspiration from John Huston's classic, The Asphalt Jungle.

McQueen is a career criminal whose parole has once again been denied in the ten year stretch he's doing. Wife Ali McGraw submits to parole board chief Ben Johnson's sexual advances to spring McQueen.

But the corrupt Johnson isn't just about sexual harassment. He wants McQueen to rob a bank that his brother is a director, to cover a nice case of embezzlement. He even recruits another pair of criminals, Bo Hopkins and Al Lettieri as part of the gang.

Of course the plan goes wrong as a bank guard is killed and then Hopkins is killed in a double-cross by Lettieri who then fails to do the same to McQueen and McGraw. After that it's a three way race to the border between Johnson's men, Lettieri, and McQueen.

Al Lettieri is a talent that was lost to us way too soon. He played some of the best villains in the early seventies and this one is one of them. He kidnaps veterinarian Jack Dodson and his slut of a wife Sally Struthers. Soon she's more than willing to go and be his girl. Struthers has a great part, so far from being Gloria Bunker Stivic on All in the Family.

My favorite Sam Peckinpah moment in all of his films is that climax at Dub Taylor's flea bag hotel where all the forces meet and shoot up the place. It's Peckinpah's best violence ballet in all of his films, I never tire of seeing it.

The whole film was shot in Texas and I'm not sure how residents of Texas might like this picture of their state. It seems to be one very violent place and a very corrupt one as well.

But I like The Getaway very much, it's my favorite Sam Peckinpah film next to Ride the High Country.

The Getaway has the very important "Three S's" which are so crucial to any film: Style, Substance, and Steve McQueen.

This film, right behind PAPILLON, is definitely my favorite McQueen vehicle -- it's a big, BIG film (which makes sense, it takes place in Texas), has an epic feel, yet at the same time is very gritty and very honest in its approach to storytelling. The simplistic yet larger-than-life style of THE GETAWAY makes this flick a great watch on a Saturday Night.

Oh, and you can't go wrong with Steve McQueen. At his side is *THE* girl-next-door type, the ultra-likable Ali MacGraw. Their chemistry is very obvious (which would make a lot of sense, the two had an on-set affair which was followed by a five year marriage), and it carries the film. The score, composed by Quincy Jones, hits all the right notes in all the right spots, and is definitely pivotal in giving THE GETAWAY its "feel." The supporting cast couldn't be better-suited to their roles. The bad guys are really bad, and quite despicable. Despite the sinister villains, this early 70s gem has a sense of humor. At times the more "innocent" characters are mocked by the situations they find themselves in, much to your amusement or disgust (I, for one, found laugh-out-loud moments all the way through). By the very nature of a McQueen film, the characters are all "approachable," and down to earth in their own strange way. In a nutshell, a simplistically epic film that finds the time to not take itself so seriously.

While THE GETAWAY may not be the best to bring out at a movie get-together due to its slightly slow pacing and early 70s narrative (which, unfortunately, due to the breakneck music-video pacing of most "modern" films, tends to turn off anyone with a less-than-sufficient attention span), it is definitely worth a purchase, and something that you will be proud to say that you've seen.

Long Live McQueen, and Have a RIB, Harold!

The machine-pounding prologue/montage of Sam Peckinpah's THE GETAWAY embodies caged hopelessness of prison life better than most entirely-set-in-prison prison flicks... plus it's the only sequence centered solely on Steve McQueen as career criminal Doc McCoy sans the uninspired acting of ingenue/partner Ali MacGraw...

During a pivotal meeting -- what seems like her being tempted by Texas millionaire Ben Johnson after having sex to get Doc paroled and then tortured with envy -- she has a vacant expression as opposed to McQueen's sharpened countenance throughout...

Meanwhile, GODFATHER villain Al Letteri (initially partnered with Bo Hopkins) would have perfectly contrasted against McQueen, only he too gets burdened by an annoying actress role as a screeching Sally Struthers plays Letteri's traveling gun moll...

All the characters on a post bank-heist GETAWAY (including a posse of crooked Texas businessman) in a road movie that, despite the aforementioned flaws, is loaded with classic Peckinpah slow-motion gunfights, fistfights, slap-fights, car chases, cars exploding and a gritty aesthetic best described as classic 1950's Film Noir B&W soaked into 1970's brick-red, cash-green, burnt-brown, pallid-blue, dusk-yellow, faded-gray exploitation.

'The Getaway' is Sam Peckinpah in gun for hire mode making a commercial heist-gone-wrong/lovers-on-the-run movie. He tried to do something similar later in the Seventies with 'Convoy', but that one strayed too far into studio compromise and was nowhere near as successful on an artistic level. Even though one gets the feeling that the movie's star Steve McQueen was calling the shots, Peckinpah still manages to add some of his trademark flamboyant violence and moral ambiguity to what is, let's face it, essentially an action movie. And I must say it is a very good action movie at that, and one many directors today working in this often tired and lazy genre could learn a thing or two from concerning suspense, drama and genuine excitement. The less you know about Jim Thompson's original novel the more you will enjoy this movie. Walter Hill (future director of 'The Warriors' and 'Southern Comfort') takes most of the basic plot, but leaves out the brilliant final chapter set in the hellish criminal haven El Ray. Apparently this was at the insistence of Steve McQueen who thought it too depressing. I also would guess that McQueen influenced Hill to alter the character of Doc McCoy from the book's charming sociopath to a more traditional tough-but-still-fairly decent career criminal. Maybe McQueen felt more comfortable pulling that style off, which is odd because he showed a lot more depth in Peckinpah's low key 'Junior Bonner'. In this one respect 'The Getaway's inferior 1990s remake was closer to Thompson's original spirit by casting Alec Baldwin in the same role. Anyway, if you forget about the book, and accept this movie for what it is, and not what it might have been it is a taut and impressive thriller. McQueen and the beautiful Ali McGraw (then husband and wife) show some real chemistry and are consistently watchable. Peckinpah uses many of his regular dependable character actors (Bo Hopkins, Dub Taylor) to support them, including a first rate Ben Johnson ('The Wild Bunch') in an uncharacteristically nasty role. Al Letteri ('The Godfather') also impresses as McQueen's conniving colleague, Slim Pickens ('Dr Strangelove') as a helpful old geezer, Sally Struthers ('All In The Family') as a blonde bimbo, and the underrated Richard Bright ('Vigilante', 'Crimewave', 'The Godfather') has a scene stealing bit as a con-man who bites off more than he can chew. 'The Getaway' is by no means Peckinpah's most interesting or impressive movie but it is solid entertainment that is hard to beat, and should be watched by any self-respecting Seventies movie fan.