The Getaway

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

The Getaway (1972)

A striking, very characteristic period piece that owes something (a lot) to "Bonnie and Clyde" from five years earlier. Steve McQueen is strong, in his silently brooding, intense way. And he rules the movie. His counterpart (his wife, actually), is played by Ali MacGraw (of "Love Story" fame) who is predictably a bit drab, though she fits the mold of the times.

So who makes the movie even slightly great? The photographer and editor, and therefore the director, Sam Pickinpaw, who had risen up with "The Wild Bunch" and "Straw Dogs," both better films than this one. The combination of natural, smart visuals (thanks to Lucian Ballard) and amazingly back and forth editing that would make Christopher Nolan proud (thanks to Robert Wolfe, who would go on to do a number of interesting films), the movie has punch and fresh energy.

The plot is fairly straight up—Doc McCoy gets out of jail thanks to a "favor" by his wife with a crime king. The debt is paid with more crime, and so the movie follows the new heist. Parallel to this is the reunification of McCoy with his wife. And she is involved in the new job, so the interweaving continues.

So in a way, the plot does its job keeping the other elements in place. The movie is fast, and has a lot of changes and interesting aspects. The settings are great—Texas in the early 1970s— and the feeling of small crime in the big world makes a great backdrop. McQueen is smart and wily, and a lot of the small parts are strong, especially Slim Pickens at the end.

It also sums up the attempts in New Hollywood to be shocking and new. Worth seeing.

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.

Sick and tired of new releases I couldn't get through 45 minutes of, I went back to a classic: Sam Peckinpah's The Getaway. What a breath of fresh air this 1972 heist/chase movie turned out to be. In addition to hyper realistic characterizations of the McCoys (played by Steve McQueen and Ali MacGraw), everything else about this movie rings true. 35 years later, Peckinpah's signature slo-motion shoot outs stand up against anything in the theaters today. There's little to dislike about this movie and I can't help but wonder why movies aren't made like this anymore: no special FX, no over-the-top stunt sequences, no melodramatic dialogue, not fat, no filler. This is a movie made by real people, for real people. Plain and simple.

Technically, the stand-out aspect within The Getaway is the editing. Influenced by the French New Wave, Peckinpah defies convention by playing with time and space as he uses disjointed cuts to jump ahead in time before allowing the events within the movie to catch up to the present. The most interesting example of this occurs when Doc and Carol are at a busy park alongside a river. Doc has just been released from prison and he's soaking in the sights and sounds of freedom. Peckinpah cuts to a shot of Doc jumping into the river with his clothes on, followed by Carol. At first this feels like a fantasy in Doc's head since we abruptly cut back to the present where Doc is still standing and looking at the river. But soon he actually does run to and jump into the river. From there we cut directly to Carol's apartment where the two enter soaking wet and smiling. It is atypical and unexpected to see unconventional editing like this in mainstream American movies, but when it's done (and done right) there' something incredibly rewarding about having your brain (and expectations) teased in such a randomly disjointed (yet fluid) way.

Another example of unconventional yet incredibly effective montage happens in the opening thirty minutes. In this sequence Doc McCoy (McQueen) is locked up in prison and slowly losing his wits. Peckinpah portrays Doc's inner head space through a dizzying montage of shots of Doc in and around the prison, where synced sound cuts smash into one another in a relentlessly pounding and oppressive manner. You get the sense something has to break and before long you realize it's Doc's resolve.

Peckinpah proves with The Getaway that you don't need astounding source material to make a great movie. On the written page I'm sure this film seemed like a very standard heist/chase film. But by allowing the actors to bring realistic, idiosyncratic performances to the table and by utilizing unorthodox techniques, such as French New Wave inspired editing, Peckinpah elevates pulp into high art. I know I'm sounding like a broken record by saying this but: where are the artists in Hollywood today?

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Steve McQueen, the number one bad ass of his time (aside from Clint Eastwood of course). So what's wrong with rooting for the bad guy? This movie seems almost flawless with its excellently executed car chases, it's suspenseful and exciting shoot-outs, and its riveting emotional sequences. Both McGraw and McQueen make this movie well worth the experience. While it is a violent movie (especially for the year it was released!) its moments of comic relief and even serenity make this movie worthy of any moral person's eyes.

Without spoiling the movie, just imagine Bonnie and Clyde with the greatest action/adventure experience ever. And to think it was over a measley $500,000... Of course, they were being chased for $750,000.

9/10 for an adventure close to perfection.