Sweet Revenge

Stockard Channing is a young woman who decides to steal the same car again and again, so she can get her dream ride. Sam Waterston is her court-appointed lawyer -- of course -- who finds her low-rent free spirit irresistibly challenging.

This is the 1970s, and in the aftermath of the 1960s, the free spirit, bursting from the bonds of conventionality, is no longer seen as a personal choice, of how an individual kook's defiance of convention can make her happier and give those near to her a new and valid view of the world. We don't get Katherine Hepburn gushing about Cary Grant: "You've got no faith in Johnny, have you, Julia? His little dream may fall flat, you think. Well, so it may, what if it should? There'll be another. Oh, I've got all the faith in the world in Johnny. Whatever he does is all right with me. If he wants to dream for a while, he can dream for a while, and if he wants to come back and sell peanuts, oh, how I'll believe in those peanuts!"

The downside is no longer just the people making bad choices; we get to see the elderly couple talking about how much they love their son, and imagine how they feel when they find out what has actually. Choices have consequences for other people.

Some film critics labeled this film a bomb. I feel, however, the only thing exploding with such rash comments are their lack of true experience in and with the real, down and dirty, world.

Upon exiting the theater to find their cars stolen, do these critics even wonder about the innate nature of the person who has absconded with their vehicles.

Stockard Channing enters the role and world of a dedicated car thief with such deft character acting, that many of the true criminal element were (reportedly) able to bond with her. And for that reason alone, the viewer has to watch this film with their focus solely limited to the character being depicted. Disregard everything else in the film with the notable exception of her motive, methods and single minded determination to achieve one single soul driving goal.

Listening to Channing spew out the dialect of the seasoned criminal with such convincing force and believability, one might easily suspect she had at one time actually been such a person who lived in such an environment. Most definitely, one would never guess she had attended the socially acclaimed Radcliff College. If character acting is what acting is all about, then Ms. Channing is one hell of an actress.

This highly underrated cinematic character study is well worth the renting for the true film buff.

Having known specialists in 'midnight auto' Ms. Channings portrayal of an obsessed car thief rings very true-to-life. To anyone else watching this movie the mechanics of the trade must have been an eye-opener. Of course, every car nut worth his (or her) salt has probably lusted after a Ferrari 246 Dino; but not to the degree that's reflected in Ms. Channings single-minded pursuit of that modern classic automobile.

At the time "All American Girl" was released I was living in Sea-Tac WA, the primary film setting. No effort made in trying to create a fictional locale. There was plenty of local press coverage and the movie may have even premiered there (?) Just about every frame contains shots of both the beauty and grittiness of the place and the characters inhabiting the world of grand-theft-auto (a perfect tonic BTW, for that Roger Corman/Ron Howard film on the same topic).

Not that I found the movie a 'downer'. Far from it. There's plenty of humor supplied by Ms. Channing, presaging later roles on film and TV. Her character's various changes in disguise as she alternately sells and steals a Porsche 356 in order to get up the scratch for the ultimate score are just too funny.

Making a film like "Sweet Revenge" could probably not come close to happening these days. The age of the Anti-Hero is long gone. One should be glad that it was released when it was. There's nothing else around quite like it.

Also recommended, "Gone in 60 Seconds" (the original).

Well, Lenny Maltin thought it was a bomb so you know it's at least worth a look. Nice Tacoma in bleak, rainy winter cinematography from Vilmos Zsigmund, and Stockard Channing gives a very good, take no prisoners type performance as a feckless, teenage car thief (that is, if you can somehow suspend your doubt that this actor looks anything less than thirty). Problem is that Channing is so in your face unattractive and off putting that I stopped liking Vurria (could the screenwriters have come up with a dumber name?) about fifteen minutes in and stopped caring about her shortly thereafter. And once that happens then it's not long before interest starts to fade and you just impatiently wait for the all too predictable, hopeless denouement. It's kind of how I felt with this director's previous foray into 70s, American loser-dom, "Scarecrow". Give it a generous C plus for Vilmos and Stockard.

In this made-for-television flick, Stockard Channing plays a no-good, selfish, pathological liar with a rap sheet longer than her arm. Her current fixation is stealing cars, so that she can sell them and hopefully get enough money to actually buy a Ferrari. Beyond that, she has absolutely no life plan. She's not thinking of getting a legitimate job, an apartment or house, a quality boyfriend, or even a bath. What a great heroine to root for.

For some reason that never becomes clear, her young, trusting public defender—played by Sam Waterston, who else?—tells the judge to be lenient because she's a good kid and just needs a little guidance. He continually sticks up for her and tries to help her, even though she proves time and again she has neither the interest nor the tools to fully accept his help. She's incredibly unlikable, and it's very frustrating to watch her drag Sam down with her, especially for fans who know him on Law & Order. Unless you really love Stockard Channing—I don't; she's just too angry-looking all the time—you'll probably want to load up on your Jack McCoy fix the way nature intended, with a Law & Order marathon.