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First and foremost, I'd just like to say that this movie is sad-VERY sad. Also, if you have a nine-to-five job, this movie may not resonate with you, as you might find it challenging to relate.

This cinematic triumph is rich with underlying metaphors that delve into the concept of true freedom and its consequences. Alongside this, it addresses government corruption, power abuse, and explores our society's perceptions in relation to homosexuality and racism. The main protagonist is in a constant struggle against the forces of governement and society, and the system he faces only becomes more relentless in its resistance against him and his righteous endeavors.

However, ultimately, the laws of nature consistently triumph over human-made laws, giving way to anarchy. Unfortunately, anarchy can be a tough pill to swallow at first. Consequently, the movie implies that the main protagonist and his girlfriend will encounter increasingly challenging choices stemming from their own liberties or the absence thereof. The fluctuations in their freedom throughout the story are left wide open for interpretation - a key element contributing to the movie's excellence.

Randy Newman wrote the main title song for the movie, entitled "Let Me Go," which also serves as the end title song, setting the emotional tone for the tragic theme of this film.

I cannot recommend this movie enough; it's one of the greatest classic movies in my opinion. However, one of the defining dramatic features of this cinematic experience is its seemingly inconclusive nature. It leaves the viewer wanting more answers, and that is the only major complaint I can conjure.

A lot of the films about disaffected youth in America produced at the end of the 60s and the beginning of the 70s were very clichéd and cheaply made by people who really didn't know anything about the subject. They were often clumsily and quickly made to cash in on the period's 'youthquake'.

This is not entirely the case here, though it does have its clumsy clichéd moments. By and large, this film was sensitively executed, about a Columbia student, from an old and wealthy New York family, who accidentally knocks down and kills a woman with his car on a very rainy night and where the tragedy leads him.

Michael Sarrazin is good to look at, as his girlfriend played by Barbara Hershey and he turns in an honest and tender performance. The plot is quite thin but the sensitivity and reasonable depth of many of the various performances, notably by his gentle father (Arthur Hill) and bigoted grandmother (Ruth White), give it substance. It's definitely worth watching.

This is an offbeat drama;Michael Sarazin is perfectly cast as the lunar poetic young man ,who seems overtaken by events ,as he was in his lifetime performance in "they shoot horses don't they?".Although he's poisoned with protection,we feel how irrational how misfit he is in the world he lives in:the first sequence of the toy boat (model) and the bluesy lazy song by Randy Newman (heard twice) which fits the movie like a glove is revealing as is the sequence we first meet a member of his family ,the straight auntie ,in the apartment which looks like a time capsule of the early seventies:a Mothers of Invention cover ,a Dylan poster...

Even after what he has done,the whole family sides with him (because their bourgeois honor is at stake),but the hero feels an invisible menace ,something in the air in the country he lives in ,something which remains very vague ;A recurrent feature in mulligan's work :something is threatening in the shadow ;see" the spiral road" "the stalking moon" "the other" and even "baby the rain must fall" ;it's certainly not a one -year sentence which scares him ,but perhaps a society he cannot be part of because he is not prepared to accept a compromise,to be the "spit picture of cousin Terrence".

This movie is fairly well made overall. It certainly gives a glimpse into the mindset of college aged students in a political and legal environment with all the predictable clashes. It also explains why letting people (who've retained the idealistic views of their childhood) become the political leaders of tomorrow will lead a nation to ruin. The lack of thoughtful consideration of the consequences of perilous and stupid actions is particularly disturbing in this film. No doubt the excitement of living a responsibility free life is an irresistible draw to many of the young and foolish who are nurtured by their predecessors in our educational system. All in all it's a frightening view of the reason great nations fall due to the well meaning ignorance of too many people. So sad to see when happiness is found simply by moving to the right.

Usually these Young-People-against-The-System films from the late 60's-early 70's are populated with groovy-talking stoners, angry radicals, and even angrier authority figures (cops, parents, etc.) But this one dispenses with those cartoons. Sarrazin and Hershey play idealistic college students, but Sarrazin is realistic enough to understand he needs help from his family connections when he gets into trouble, and Hershey doesn't have a beat-the-system attitude when Sarrazin escapes from custody; in fact, she can't fathom why he was so stupid.

It all revolves around an accident involving Sarrazin hitting a pedestrian with his car. It has nothing to do with campus politics and no attitudes are posed. The filmmakers don't try and truckle to the youth crowd by having the establishment types be played over-the-top. When Sarrazin mildly mocks the justice system, his lawyer played by E.G. Marshall shuts him up fast with a well-written lecture that reasonably explains Marshalls' viewpoint. And, noticeably, it is Marshall's law assistant, of the same age as Sarrazin, who is played as far more hard-core establishmentary than Marshall, or Sarrazin's father, played by Arthur Hill. The film also features a young Robert Klein, who is quite good as Sarrazin's buddy. It also features a small but striking performance from William Devane as an airplane pilot hired to help Sarrazin. Devane is on screen no more than thirty seconds before he becomes more interesting than anyone else in the film (although Sarrazin's grandma is quite a kick, even though one note). And yes, Hershey does show off her very nice young figure in a couple of scenes. Unfortunately, the film also features Randy Newman drone-singing one of his boring songs at the opening and closing.