Le Canardeur

Thunderbolt and Lightfoot (1974) isn't perfect, but it has a lot going for it. The pairing Eastwood and Bridges is great, these aren't the same kinds of actors, and yet their on-screen relationship works well. Supporting character actors George Kennedy and Geoffrey Lewis round out rest of the heisters, and Gary Busey makes an early appearance in a small role. Also of note is the striking Montana scenery, quite unseen on film, this movie does an admirable job showcasing it. What I'm really surprised about is how no one else seems to have noticed a couple of things about this film.

First: The title of this film, and its two main characters are an homage to a pair of famous 19th century highwaymen who called themselves respectively `Captain Thunderbolt' and `Captain Lightfoot'. This isn't the last time Hollywood film criminals would be named after real life bandits. In the film `The Way Of The Gun' the characters are called `Mr. Parker and Mr. Longbaugh' which of course were the real names of Butch Cassidy and The Sundance Kid! Also of interest is the fact that Geoffrey Lewis appears in The Way Of The Gun!

Second: Those interested in a companion piece to this film might consider watching `Thelma and Louise' which mirrors the on-the-road relationship of this film very closely. Though the plot is different, the relationship with the landscape and the emphasis on two characters is strikingly similar. In short a good film, worth watching!

This film has a few weak spots in the script, but I sure like it. A heist movie, with a mean Kennedy in it. Jeff and Clent never made another movie, and they could be like Redford and Newman; they have movie chemistry. TBS edits this film too much, its recomended watching on video. Worth renting 7/10.

I found 'Thunderbolt And Lightfoot' in the "action" section of my local video store, and a quick glance at the cover and blurb might make you think you're in for a buddy action comedy, like Eddie Murphy et al made in the 1980s and Jackie Chan is making now. This is not entirely correct. While it is essentially a buddy movie and there is "action" in it, it is much more character-driven and episodic than most movies in the genre, and has more in common with forgotten 1970s gems like 'Scarecrow' or 'Fat City', than your typical Clint Eastwood fare from this period. Michael Cimino, who co-wrote the ecological SF sleeper 'Silent Running', and wrote the first (and best) movie in Eastwood's 'Dirty Harry' series, debuts impressively as director here. Eastwood himself is very good as enigmatic thief Thunderbolt, even better is Jeff Bridges who steals the movie as his young protege Lightfoot. Some people dislike this movie because it appears to meander along for no particular reason, but I really enjoyed the interaction between Eastwood and Bridges, who really seem to be having a ball working together. The plot eventually comes together with a robbery involving the two and character actors George Kennedy ('Cool Hand Luke' and Eastwood regular Geoffrey Lewis ('The Way Of The Gun'). I still really wouldn't call this a caper movie (ala 'Rififi', 'The Killing', 'The Anderson Tapes', etc,etc.), it's not as straightforward as that. The robbery plot is almost an excuse for a bunch of enjoyable scenes between the actors, who are all excellent and really play off each other in an entertaining way. Also keep an eye out for bit parts by Gary Busey ('Big Wednesday'), Catherine Bach (Daisy Duke!), Dub Taylor ('The Wild Bunch') and others, especially an unforgettable bit with the legendary Bill McKinney ('Deliverance'), one of the highlights of the movie. There's no way I'm going to argue that 'Thunderbolt And Lightfoot' is a forgotten classic, but it is a lot of fun to watch, it is unpredictable and interesting and features some fine performances, and that is a lot more than you can say for most subsequent Hollywood movies of this type. Recommended to 1970s buffs and anyone who enjoys Jeff Bridges.

Michael Cimino's first film is an arresting fusion of early 70's road movie, 'Buddy' picture and 'planning a heist' action-thriller. That it manages to incorporate these elements into a poetic study of male friendship and the unquenchable restlessness at the heart of the great American pioneer/drifter mentality makes it a remarkable piece of work.

Cimino avoids the 'arty' distance of Terence Malick's 'Badlands' or the po-faced existentialism of Monte Hellman's 'Two Lane Black-top', but entertains the same thematic concerns within the framework of an accessible genre piece. From it's opening vista of a deserted wheat field, accompanied by the haunting strains of a single acoustic guitar, the film resonates with loneliness and loss. "Tell me where, Where does a fool go", sings Paul Williams, "when there's no-one left to listen, to a story without meaning, that no-body wants to hear?"

It is also funny and tender in it's observation of male camaraderie. Eastwood has never been more effective and affecting on-screen than in his interplay here with Jeff Bridges. We get a real sense of his character's connection to Bridges which makes the 'Midnight Cowboy'-ish ending genuinely moving.

Like all the great 70's movies, it has some wonderfully memorable scenes and dialogue: Dub Taylor ranting about the imminent collapse of the American economy at a nocturnal gas station; Bill Mckinney as a crazed speed-freak with a trunk full of white rabbits; Bridges encountering a hammer-wielding female motorcyclist, etc, etc.

Throw in some breath-taking scenic photography of Montana by Frank Stanley (prefiguring the use and role of landscape in relation to character later explored by Cimino in 'The Deer Hunter') and some beautifully understated character work in the smaller roles, and you have a fondly remembered minor classic ripe for some serious re-appraisal.

Like a tribute to Butch Cassidy and the Sundance Kid, Thunderbolt and Lightfoot were a contemporary edition of the duo.

Thunderbolt (Clint Eastwood) met Lightfoot (Jeff Bridges) quite serendipitously. Thunderbolt was running from his would-be killer only to be saved by the fast driving Lightfoot. Their fortuitous meeting started a friendship between the two that was like journeyman and apprentice for thieves.

The young Jeff Bridges stole every scene he was in. He had the boyish young looks and the bubbly personality to go with them. Eastwood was... well he was Eastwood. You don't get much range from him. He's stoic, few-worded, and gruff. I think Eastwood is at his best when there's another star there for contrast. This crime and friendship story had some funny moments, intense moments, and even somber moments. The story and acting were great. This was a quality film.