Chickamaw, T-Dub and Bowie have just escaped from prison. While Chickamaw and T-Dub are hardened criminals - bank robbers - twenty-three year old Bowie, who has been in prison since he was sixteen, was wrongly convicted of murder. As he felt he was rotting behind bars, Bowie, when given this opportunity by his two older colleagues, believed his best path forward was to help Chickamaw and T-Dub in their upcoming heists, in a case of knowing there was a payback in they choosing him, to make enough money to hire a lawyer to clear his name of the murder conviction. The plan is to hide out with Chickamaw's alcoholic brother, Mobley, until they have enough money to make other arrangements. Also with them is Mobley's daughter, Keechie, who doesn't much like her life with her father or that of her uncle. In their time together, Bowie and Keechie form a bond, both emotional and romantic, they who begin to dream of a life together where Bowie would not always have to look behind his back for ...Written by
The new Cadillac is seen to be covered with a tarpaulin. When the camera swings back to it, the tarpaulin has vanished. See more »
[reading Bowie's letter to herself, as she walks back to her cabin]
"Hello girl. I'm gonna miss you, but I got to do it this way. I'll send for both of you when I can. No matter how long it takes, I got to see that kid. He's lucky. He'll have you to keep him squared around. I love you, Bowie."
[turns to look at Bowie's lifeless body on the ground, whispers]
I love you.
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Opening credits: This boy . . . and this girl . . . were never properly introduced to the world we live in . . . To tell their story . . . See more »
An earlier, and just as involving, version of Thieves Like Us
Nicholas Ray's first feature, in 1949, was an adaptation of the novel Thieves Like Us (which Robert Altman so memorably filmed in the mid-1970s). It's a bit of a surprise to encounter the same characters -- Bowie, Keechie, T-Dub et al. -- in postwar black-and-white. Farley Granger and Cathy O'Donnell play the star-crossed lovers later rended by Keith Carradine and Shelly Duvall, and they bring a vulnerable, doomed edge to this very interesting, tragic movie. (Granger may never have been better during his brief bout of stardom). The supporting cast isn't quite up to the level of Altman's (without Louise Fletcher and her odd little girl), but on the whole this remains an honorable and moving piece of film art -- and a vital instalment, along with the same year's Gun Crazy (also a tale of doomed, romantic outlaws), in the noir cycle.
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