IMDb > The Getaway (1972)
The Getaway
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The Getaway (1972) More at IMDbPro »

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Overview

User Rating:
7.5/10   17,337 votes »
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Director:
Writers:
Walter Hill (screenplay)
Jim Thompson (novel)
Contact:
View company contact information for The Getaway on IMDbPro.
Release Date:
13 December 1972 (USA) See more »
Genre:
Tagline:
They're Hot - McQueen/MacGraw See more »
Plot:
A recently released ex-con and his loyal wife go on the run after a heist goes awry. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for Golden Globe. Another 1 win See more »
User Reviews:
This movie is a true masterpiece See more (122 total) »

Cast

  (in credits order) (verified as complete)

Steve McQueen ... Doc McCoy

Ali MacGraw ... Carol McCoy

Ben Johnson ... Jack Beynon

Sally Struthers ... Fran Clinton

Al Lettieri ... Rudy Butler

Slim Pickens ... Cowboy
Richard Bright ... The Thief

Jack Dodson ... Harold Clinton

Dub Taylor ... Laughlin

Bo Hopkins ... Frank Jackson

Roy Jenson ... Cully
John Bryson ... The Accountant

Bill Hart ... Swain
Tom Runyon ... Hayhoe
Whitney Jones ... The Soldier
Raymond King ... Boy on the Train
Ivan Thomas ... Boy on the Train
C.W. White ... Boy's Mother
Brenda W. King ... Boy's Mother
W. Dee Kutach ... Parole Board Chairman
Brick Lowry ... Parole Board Commissioner
Martin Colley ... McCoy's Lawyer
O.S. Savage ... Field Captain
Dick Crockett ... Bank Guard
A.L. Camp ... Hardware Store Owner
Bob Veal ... TV Shop Proprietor
Bruce Bissonette ... Sporting Goods Salesman
Maggie Gonzalez ... Carhop
Jim Kannon ... Cannon
Doug Dudley ... Max
Stacy Newton ... Stacy
Tommy Bush ... Cowboy's Helper (as Tom Bush)
rest of cast listed alphabetically:
Margaret Mazzola ... Car Hop #1 (uncredited)

Hal Smith ... Various Radio Announcers (uncredited)
Tommy Splittgerber ... Train Station Ticket Agent (uncredited)
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Directed by
Sam Peckinpah 
 
Writing credits
Walter Hill (screenplay)

Jim Thompson (novel)

Produced by
Mitchell Brower .... producer
Gordon T. Dawson .... associate producer
David Foster .... producer
 
Original Music by
Quincy Jones 
 
Cinematography by
Lucien Ballard (director of photography)
 
Film Editing by
Robert L. Wolfe  (as Robert Wolfe)
 
Casting by
Patricia Mock 
 
Art Direction by
Angelo P. Graham  (as Angelo Graham)
Ted Haworth 
 
Set Decoration by
George R. Nelson 
 
Makeup Department
Kathryn Blondell .... hair stylist (as Kathy Blondell)
Al Fleming .... makeup artist
Jack Petty .... makeup artist
 
Production Management
Don Guest .... production manager (as Donald Guest)
 
Second Unit Director or Assistant Director
Newt Arnold .... assistant director
Gordon T. Dawson .... second unit director
Ron Wright .... assistant director
Lorin Bennett Salob .... second assistant director (uncredited)
 
Art Department
Chalo González .... assistant property master (as Chalo Gonzalez)
Les Hallett .... assistant property master
Robert J. Visciglia Sr. .... property master (as Robert J. Visciglia)
Jarrell Jay Knowles .... props (uncredited)
Wes Webb .... carpenter (uncredited)
 
Sound Department
Michael Colgan .... sound editor (as Mike Colgan)
Garth Craven .... sound consultant
Michael J. Kohut .... boom operator (as Michael Kohut)
Richard Portman .... sound re-recording mixer
Josef von Stroheim .... sound editor (as Joe von Stroheim)
Charles M. Wilborn .... sound mixer
Walter A. Gest .... sound re-recordist (uncredited)
 
Special Effects by
Bud Hulburd .... special effects
 
Stunts
Gary Combs .... stunts (uncredited)
Dick Crockett .... stunts (uncredited)
Donna Garrett .... stunts (uncredited)
Bill Hart .... stunts (uncredited)
Whitey Hughes .... stunts (uncredited)
Loren Janes .... stunt double: Steve McQueen (uncredited)
Loren Janes .... stunts (uncredited)
Carey Loftin .... stunts (uncredited)
 
Camera and Electrical Department
Gaylin P. Schultz .... key grip
Mel Traxel .... still photographer
Harry Young .... first assistant camera (uncredited)
 
Costume and Wardrobe Department
Kent James .... costumer: men
Barbara Siebert .... costumer: women
Ray Summers .... costume supervisor
James M. George .... wardrobe (uncredited)
 
Editorial Department
Mike Klein .... assistant film editor
Bill Lindemann .... assistant film editor (as William G. Lindemann)
Roger Spottiswoode .... editorial consultant
 
Music Department
Dan Carlin Sr. .... music editor (as Dan Carlin)
Don Elliott .... musical voices
Toots Thielemans .... musician: harmonica solos
Richard Nash .... musician: trombone (uncredited)
 
Other crew
Joan Arnold .... production secretary
Joie Gould .... assistant to producer
Katherine Haber .... dialogue director (as Katy Haber)
Michael Preece .... script supervisor
 
Thanks
Warren Skaaren .... thanks: executive director, Texas Film Commission
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
122 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Australia:M | Australia:MA (Cable TV rating) | Brazil:14 | Canada:PG (Manitoba/Ontario) | Canada:13+ (Québec) | Finland:K-18 | France:-12 | Germany:16 (re-rating) | Iceland:16 | Italy:VM14 | Norway:18 (uncut) | Norway:16 (cut) (1973) | Portugal:M/16 | Singapore:PG | Sweden:15 (uncut) (1998) | Sweden:15 (cut) (1973) | UK:X (original rating) | UK:18 (re-rating, uncut) | USA:PG (cut) | West Germany:18 (nf)
Filming Locations:

Did You Know?

Trivia:
Hints that Rudy will be bad luck: His pedal-boat number is 13, and he plays with a black kitty at several points in the film.See more »
Goofs:
Factual errors: The call letters for the El Paso radio station Doc is listening to are 'WHIL'. Being west of the Mississippi those call letters should start with 'K'. If it was a radio station from Mexico the call letters should've started with an 'X'.See more »
Quotes:
Rudy Butler:That's a walk-in bank. You don't have to be Dillinger for this one.
Carter 'Doc' McCoy:Dillinger got killed.
Rudy Butler:Not in a bank.
See more »
Movie Connections:
Referenced in The Big Hit (1998)See more »
Soundtrack:
A Good SongSee more »

FAQ

This FAQ is empty. Add the first question.
37 out of 40 people found the following review useful.
This movie is a true masterpiece, 17 December 2001
Author: pzanardo (pzanardo@math.unipd.it) from Padova, Italy

I consider "The getaway" a true masterpiece, on the same level of Sam Peckinpah's major achievements (save "The wild bunch", of course). I learn from IMDb comments that the final cut of the movie was made by other people (McQueen ?!) than the director. Moreover the plot is much unfaithful to the original novel... Well... anyway the result is excellent.

Doc (Steve McQueen) is a tough, laconic guy, Carol (Ali McGraw) a tough, laconic woman. In some sense, they mostly speak just for technical reasons: "Take the money-bag", "Don't scratch your wound"... If they've nothing to say, they keep quiet. They seem shy to express their reciprocal feelings, even unable to say "I love you". Doc cannot accept what Carol has done, although just to help him out of jail. They both silently suffer for this, with some explosions of violence by Doc, and a ready gritty reply by Carol. But the audience well understand from their body-language how much they love each other. I think that McQueen and McGraw made a superb job in their difficult roles. Strangely enough, their performances, as well as their lines, received much criticism. I fear that people didn't like their job since they are too used to the current way of acting: hysterical, screaming, awfully clown-like. With lines that are just floods of stupid, pointless, annoying chats. A not welcome legacy of the style created by Tarantino, Oliver Stone and imitators. Nothing could be more far-away from Peckinpah's artistic taste.

The story of the movie is linear, but not trivial. The cinematography and montage are outstanding. The pace is somewhat slow, partially due to the great care paid to details. But when it's the time of action, nobody can compete with Peckinpah's grand style.

In every movie of his, Peckinpah shows his genius with some astonishing, stark new cinematic ideas. In "The getaway" we find the paramount representation of the "power of the shot-gun". Doc's shot-gun bullets destroy police-cars, devastate a whole hotel, demolish an elevator, knock down a door slaughtering the thug hidden behind... the recoil of the weapon lifts Doc's shoulder... Who remembers that this stuff, nowadays almost a cliche in action-movies, was introduced in "The getaway"? It's worth noting that an early imitator of Peckinpah's "shot-gun scenes" was Steven Spielberg in "Sugarland express".

Some words on the sub-plot concerned with the hateful Rudy (Al Lettieri) and the cretinous Fran (Sally Struthers). This part of the film is deliberately disagreeable, up to an almost unbearable point. As usual, Peckinpah doesn't miss his chance to be hated by the feminists, with his design of Fran. A damned idiot, nymphomaniac just for stupidity. At the end, when Doc hits her (a punch straight on her prating, whimpering mouth!) the director nearly provokes a standing ovation by the audience (men and women, as well). If that's not cinematic genius, what else is it? And, speaking of imitators, how much Tarantino's characters owe to Rudy and Fran?

Perhaps "The getaway" could have been even better without extraneous interference. Nonetheless, it is a fantastic film, a must-see.

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Message Boards

Discuss this movie with other users on IMDb message board for The Getaway (1972)
Recent Posts (updated daily)User
Gun question (anyone, anyone, Bueller?) pammahl
Favorite Scene? or Editing Sequence? Nick55419
Did Doc ever apologize to Carol for slapping her? swtsu1986
PG rating philipshepp
what's the deal with the blood? rockinghippy
Wife slapping rubenm
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