Tilman and Lanton Mills, two cowboys who set off on horseback to rob a bank. On the way, they stop to see their boss, the "Old Man", only to discover he has been murdered by another cowboy,... See full summary »
Harry Dean Stanton,
Kit Carruthers, a young garbage collector and his girlfriend Holly Sargis from Fort Dupree, South Dakota, are on the run after killing Holly's father who disagreed with their relationship. On their way towards the Badlands of Montana they leave a trail of dispassionate and seemingly random murders. A very intriguing narrative without judgements, and lacking the usually sensational approach of this genre. Very good acting and directing, and beautiful photography. The script was based upon the true story of the Charles Starkweather and Caril-Ann Fugate murders in 1958. Written by
Theo de Grood <firstname.lastname@example.org>
He was 25 years old. He combed his hair like James Dean. She was 15. She took music lessons and could twirl a baton. For a while they lived together in a tree house. In 1959, she watched while he killed a lot of people. See more »
In the scene where Kit records his confession on a record, he places coins in the machine and then flips the switch from 78 rpm to 45 rpm. The instructions above the switch clearly says "Before Inserting Coins Select Recording Speed." If he were following directions he would have flipped the switch then inserted the coins. See more »
[voice over narration]
My Mother dies of pneumonia when I was just a kid. My Father kept their wedding cake in the freezer for ten whole years. After the funeral he gave it to the yard man. He tried to act cheerful but he could never be consoled by the little stranger he found in his house. Then one day hoping to begin a new life away from the scene of all these memories he moved us from Texas to Port Dupree, South Dakota.
See more »
BADLANDS is an intelligent little film. We're given characters and situations and left to make our own conclusions. Based on an actual young couple who went on a killing spree across the southwest in the late 1950s, the story has two young people doing their own thing with precious little in the way of ethics to guide them. It's interesting to note that both these kids substitute their own fantasies for any sense of order or responsibility that society may have to offer. The turning point comes when Kit and Holly decide to shuck their semblances of normal life for whatever their fantasies provide which, unfortunately, can't sustain them. Sheen's Kit is full of swagger and bravado; it's almost easy for someone to see him committing robberies and serial murders. Spacek's Holly is more intriguing: a soft, vanilla, invisible girl from a respectable, emotionally detached home, she seemingly possesses little in the way of what one would associate with a violent criminal. Yet, she accompanies Kit, with nothing in the way of reservations or regret. The chance to fulfill her vapid, movie magazine fantasies, if only by hiding out in the woods and applying makeup, seem infinitely more palatable than her dull existence twirling batons in her yard(it's interesting to note that one of the few things she takes away from her home is a highly romanticized, Maxfield Parrish print). These misguided illusions, along with her adolescent love for Kit, keep her going to the end. A worthwhile exploration of the bland, vacant American sensibility that values appearances or passive, benign behavior over real ethics and personal morality. And definitely more relevant as the years have passed.
45 of 61 people found this review helpful.
Was this review helpful to you?