Lou-Jean, a blonde woman, tells her husband, who is imprisoned, to escape. They plan to kidnap their own child, who was placed with foster parents. The escape is partly successful, they take a hostage, who is a policeman and are pursued through to Texas... Written by
Kornel Osvart <firstname.lastname@example.org>
The first theatrical feature film directed by Steven Spielberg to be given a wide release. His previous theatrical film Firelight (1964) was only shown once at one theater and is partly lost. See more »
When the helicopter with Lou Jean's father lands at the stadium, although he is seen leaving the helicopter in the close shots on the ground, in the wide shot of it landing, he is not there. Instead, a cameraman is visible in the father's seat, holding a 35mm movie camera, shooting the father's POV footage of the landing. See more »
Ambling into Film History, Young Spielberg Starts Out
The first theatrical feature by Spielberg, his last as just another director before "Jaws," this story is saddled by what I call an 'idiot's resolve' plot. This means the main characters behave like complete idiots and, in real life, wouldn't get two steps in the direction they're going, much less the miles of roadway managed in this pic. But - and this is an important point - the story is supposedly based on a real life incident, which means such theorizing may not apply here. It all depends on how much Spielberg and the writers exaggerated events, which I tend to think was quite a bit. The story is jump-started in that a 2-year old baby is placed in foster care; the real parents (Hawn & Atherton), small-time criminals, won't have it and break the father's incarceration to set out for the foster home. But, from the outset, these two are presented as such obvious losers, I was hoping they'd never reach the kid. The father, for example, has only 4 months remaining of post-prison time to do; in short order, the idiot couple's transgressions escalate from auto theft to kidnapping of a cop (Sacks). In essence, they quickly sabotaged any chance for themselves of getting the kid back in a happy fashion.
I also got the impression Spielberg was poking a lot of fun at Texas and Texacans in general, where this takes place. Besides the two idiotic so-called parents, most everyone else is also presented as a buffoon, a country hick with no clue. The more sinister examples are those who live for the opportunity to shoot someone - this is gun country, after all. The only one who escapes with his dignity intact is the police captain, well played by Ben Johnson. There are traces of the imagery and poignancy which many of Spielberg's later pictures would be laced with. There's the absurdity of that long, very long line of police vehicles, lights flashing, following that one car with the fugitives (I guess no other crimes needed attention in the county that day?). And the sudden look on Atherton's face when he watches a Road Runner cartoon is amazing. But these are a few instances far and between in an ambling picture. Hawn is immensely likable, of course, but in the end she comes off as an idiotic screaming shrew who directly causes bad stuff to happen. Maybe it's just me, but I don't really like women such as this. But then, if this is true-to-life, Spielberg captured some sense of an unpleasant reality we have no control over. It just didn't retain such a consistency through the entire movie.
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