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It seems almost forgotten nowadays, which really is too bad. It's a thoughtful drama, adapted by Jon Boothe and George Sherman from the novel by Thomas Rogers. It tells a good story in a straightforward manner, refraining from indulging in any filler and giving impressive acting showcases to a fine bunch of actors.

Michael Sarrazin stars as William Popper, a college student who accidentally kills an old woman while driving in the rain one night. He's soon sent to prison, but what really screwed him more than the actual crime was the dim view that the system took of him, seeing a morally dubious young man with a serious disregard for law and order; not only was he driving with a license that he claims he didn't know expired, but he hadn't been paying his parking tickets.

While in prison, he becomes increasingly dismayed at the absurdity of the events in which he's caught up. Seeking to find some way to express himself, he seizes the opportunity for escape when it occurs, and implores his free spirited girlfriend Jane Kauffman (a very young and very gorgeous Barbara Hershey) to join him in his quest for freedom.

Boothe, Sherman, and director Robert Mulligan use this entertaining tale to make larger statements about the folly of human ignorance and the way that society at large can often impose its idea of how people should behave on the younger generation. Despite his good intentions, William continuously finds himself in trouble, whether he's admitting to being an atheist or lending some assistance to a homosexual fellow con (Gilbert Lewis). He's a young man frustrated by the injustices of the world and the whole aspect of chance. At least William has some people on his side, including his enthusiastic friend Melvin (comedian Robert Klein), his loving father John (Arthur Hill), and his formidable grandmother (Ruth White, who delivers a commanding performance). But he remains restless right to the end.

Sarrazin and Hershey are engaging in the leads, and the supporting cast features a number of familiar and reliable performers:E.G. Marshall as Williams' lawyer uncle, Sada Thompson as his aunt, David Doyle as an amiable con, Barnard Hughes as a judge, Ralph Waite as a detective, Rue McClanahan as an angry relative to the accident victim, and Charles Durning in a bit as a police guard. William Devane turns up late in the film, but makes a strong impression as a sleazy pilot whom William approaches for help.

This film is good enough, and likable enough, to deserve to be better known. At the very least, fans of the cast and director should be intrigued enough to want to give it a look.

Eight out of 10.

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.

Uninvolved New York college student, estranged from his wealthy family and half-heartedly romancing his radical girlfriend, realizes just how empty and directionless his life has become after he accidentally strikes a jaywalker with his car and is sentenced to a year in jail for vehicular manslaughter. Intensely troubling material, based on the book by Thomas Rogers, given low-keyed, matter-of-fact treatment. Michael Sarrazin's dazed and confused young man doesn't mean to buck the system (i.e., the Establishment), necessarily--he refuses to play by the rules because, as he sees it, you have to lie to win. Not wanting to be dishonest to himself, he manages to get in much deeper trouble. Not a surefire crowd-pleaser (especially for this generation), the film is intelligent and smoothly handled, if unable to explore its themes adequately within this milieu. It doesn't want to be a cop-out and have the protagonist become "a better man" by being a model prisoner--and at the same time, it doesn't want to be explosive or dynamic and have the kid get away guilt-free. There's no happy ending (hence the irony of the title), but certainly the circumstances which arise here are thought-provoking. Sarrazin and young, lovely Barbara Hershey are very good; Arthur Hill also excellent as Sarrazin's surprisingly understanding father. The supporting cast is wonderfully filled with now-familiar faces: Sada Thompson, Ralph Waite, David Doyle, Robert Klein, William Devane, Rue McClanahan, Charles Durning. A forgotten picture worth-seeing...and worth discussing afterward. **1/2 from ****

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".

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.