George C Scott plays Harry Garmes, a former getaway driver who comes out of retirement to prove to himself he hasn't lost his touch. He lives in a small Portugese fishing village, but he isn't fulfilled; he views retirement as preparation for death and goes behind the wheel again to inject some vitality into his existence. What promises to be a straightforward job, however, brings him unexpected challenges. The film boasts suspenseful car chases, impressive cinematography, a good script and a compelling performance from George C Scott as the cynical driver who gets more than he bargains for as he chauffeurs an escaped prisoner and his girlfriend across country. The film is thought-provoking, it deals with love, death, regret, frustration and determination, and coupled with tension and suspense makes it a memorable ride.
46 Reviews
Atmospheric and Solid throwback to Bogart's Crime World
unclecessna15 February 2008
This film almost should have been in black and white! Very solid throwback to the gritty film-noir gangster films of the 40's. The ever brilliant George C. Scott tackle's the Bogartesque protagonist with style - a retired gangland getaway-driver lured out of retirement by personal reasons for one 'Last Run' in Spain in which he has to transport a escaped killer and his moll across the border to France.
Of course nothing ever goes quite as planned and Scott soon find's his assignment calling for him to make some tough choices in the face of mounting odd's and hidden dangers. This film benefits from it's strong cast, fantastic camera-work by the great Sven Nykvist(Bergmann films), great location scenery in Spain and an economical screenplay from the talented Alan Sharp(Night Moves). Underrated director Richard Fleischer gives the film a great Hemingway type atmosphere and does a good job with the action scenes. Interestingly John Huston started this film and left after three weeks into the production following rows with Scott, Sharp and the producers over wanting to have the script re-written by his eighteen year old son! Overall this is a good solid thriller that works and is waiting to be rediscovered.
Of course nothing ever goes quite as planned and Scott soon find's his assignment calling for him to make some tough choices in the face of mounting odd's and hidden dangers. This film benefits from it's strong cast, fantastic camera-work by the great Sven Nykvist(Bergmann films), great location scenery in Spain and an economical screenplay from the talented Alan Sharp(Night Moves). Underrated director Richard Fleischer gives the film a great Hemingway type atmosphere and does a good job with the action scenes. Interestingly John Huston started this film and left after three weeks into the production following rows with Scott, Sharp and the producers over wanting to have the script re-written by his eighteen year old son! Overall this is a good solid thriller that works and is waiting to be rediscovered.
George C Scott Owns This
nomorefog11 August 2020
Warning: Spoilers
I was surprised by this film, as I went into it blind, didn't think of George C Scott much one way or the other and have no particular interest in cars or machinery. Straight action films, also don't interest me much. But despite these reservations I like The Last Run for its thoughtful characterisations and straightforward story of three people who make a dash for the cash, and have to live and die with the consequences.
George C Scott is more subdued, and much easier to like here than in his better known movies such as Patton, or The Hustler. His gruff demeanour does not indicate a heart of gold, but still it seems obvious he is a decent person. As an older man his character seems confounded by his fate, the realisation that he's running out of time. He's wonderful to watch and gives a superb performance.
The cinematography and musical scores are first rate, and the ensemble cast make their presence felt, but it's Mr Scott's movie, and I can't help but like him.
The Scott Show
Cueball_Col26 February 2008
I caught this George C Scott vehicle on TCM last night and thought I'd venture forth with a few thoughts about it. The title pretty much covers the the central plot here, you've got George C Scott as an ex-getaway drive who has spent the last nine years trying his hand at retirement in a Portugese fishing village. The first 15 minutes of the film are very economic in the way they set up what is to come and lay out all the necessary background information on this character without it coming over as clunky exposition. His house betrays a life spent not always in solitude, and a visit to a grave tells of a previous tragedy. A post coital conversation with a local hooker allows Scott to demonstrate his intelligence, charm and dissatisfaction with his current lot that has led him to accept this 'one last job'.
The job in question is to ferry to France an escaped convict (Tony Musante) and his girlfriend (Trish Van Devere, later to become Mrs Scott in real life). Cinematic convention tells us that we're not going to be in for a smooth ride. Prior to leaving for the job Scott's character all but tells us that he doesn't expect to come back and wouldn't be altogether fussed if that were the case. It's the last hurrah of a forgotten man, the battle cry of a warrior finding his voice again. Apart from some well shot and staged chase sequences that show the skill of our protagonist, Scott is the main reason to be watching this (see the first look of joy on his face in the entire film as he gets back to doing what he does best). He's a man of integrity and pride but also the ultimate weakness of compassion and love that at once reignites his passion for life whilst putting it in danger.
I wouldn't be altogether surprised if the makers of The Transporter expressed a fondness for this film, as it certainly shares certain baser elements with the later Statham-starrer, but is certainly less one dimensional. As far as performances go this is the Scott show and his supporting act is unfortunately rather less than stellar. I'd recommend it, especially for Scott fans and those that enjoy a good car chase that doesn't feel the need to flip upside down underneath a crane. 7/10
The job in question is to ferry to France an escaped convict (Tony Musante) and his girlfriend (Trish Van Devere, later to become Mrs Scott in real life). Cinematic convention tells us that we're not going to be in for a smooth ride. Prior to leaving for the job Scott's character all but tells us that he doesn't expect to come back and wouldn't be altogether fussed if that were the case. It's the last hurrah of a forgotten man, the battle cry of a warrior finding his voice again. Apart from some well shot and staged chase sequences that show the skill of our protagonist, Scott is the main reason to be watching this (see the first look of joy on his face in the entire film as he gets back to doing what he does best). He's a man of integrity and pride but also the ultimate weakness of compassion and love that at once reignites his passion for life whilst putting it in danger.
I wouldn't be altogether surprised if the makers of The Transporter expressed a fondness for this film, as it certainly shares certain baser elements with the later Statham-starrer, but is certainly less one dimensional. As far as performances go this is the Scott show and his supporting act is unfortunately rather less than stellar. I'd recommend it, especially for Scott fans and those that enjoy a good car chase that doesn't feel the need to flip upside down underneath a crane. 7/10
the existential crime/road movie
steppling28 November 2005
A really excellent film, written by the wonderful and neglected Alan Sharp (see Night Moves). Scott is great and in an era of endless explosions and car chases, this is a welcome, intelligent relief.
Richard Fleisher did several good early noir films before his late career as a hack TV director. Also, this background reminds one of Frears film The Hit. (or is it The Last Hit?)...anyway,the writing is first rate, as always with Sharp and the characters quite memorable. Why is it so overlooked? This is the kind of genre piece that simply doesn't get made anymore. All performances are solid --- and I also have to wonder at the career of Richard Fleisher. From something as good as this, to his late work will remain a filmic enigma.
Richard Fleisher did several good early noir films before his late career as a hack TV director. Also, this background reminds one of Frears film The Hit. (or is it The Last Hit?)...anyway,the writing is first rate, as always with Sharp and the characters quite memorable. Why is it so overlooked? This is the kind of genre piece that simply doesn't get made anymore. All performances are solid --- and I also have to wonder at the career of Richard Fleisher. From something as good as this, to his late work will remain a filmic enigma.
One of the most beautifully photographed chase thriller...
Nazi_Fighter_David31 August 2001
Warning: Spoilers
The story is simple... George C. Scott, a retired Chicago gangster, whose specialty in the old days was as a wheelman, lives in Spain... For various reasons, he agrees to drive an escaped convict (Tony Musante) and his girl (Trish Van Devere) across the country in a getaway drive from the Guardia Civil and rival gangsters...
The twist is that the ex-gangster genuinely loves automobiles... In his garage he has a super charged 1957 BMW 503, one of the prettiest sporting cars ever built, and Scott cares for this vehicle almost with the love he would give a woman...
Forced to drive it too far and too fast with the 'blower' cut in, he complains that it will ruin the motor, a thought about the internal-combustion engine which movie drivers never seem to have... When, at the end of the film, he crashes the car, it is obvious that he will then sacrifice his life for the hoodlum and the girl, because there is nothing left for him...
Colleen Dewhurst (who was Mrs. Scott) is also featured in this exciting, and certainly, one of the most beautifully photographed chase thriller...
The twist is that the ex-gangster genuinely loves automobiles... In his garage he has a super charged 1957 BMW 503, one of the prettiest sporting cars ever built, and Scott cares for this vehicle almost with the love he would give a woman...
Forced to drive it too far and too fast with the 'blower' cut in, he complains that it will ruin the motor, a thought about the internal-combustion engine which movie drivers never seem to have... When, at the end of the film, he crashes the car, it is obvious that he will then sacrifice his life for the hoodlum and the girl, because there is nothing left for him...
Colleen Dewhurst (who was Mrs. Scott) is also featured in this exciting, and certainly, one of the most beautifully photographed chase thriller...
Great, hard to find Euro thriller
Henryhill5126 June 2010
The plot is simple: an aging criminal getaway driver stumbles out of semi-retirement for one last job and ends up getting more than he bargained for. It's the stuff film noir writers have dreamed up for years. But in Richard Fleischer's "The Last Run", released in 1971 and starring George C. Scott, it feels refreshingly original and brash.
A troubled production from the start, "The Last Run" barreled through several directors (including John Huston) before Fleischer came on board. It probably wouldn't have been quite as successful without the star status of Scott... an interestingly low budget choice for an actor spring boarding off his home run performance in the blockbuster "Patton" a year earlier. And it is Scott who gives the film its grizzled pessimism... portraying his character Harry Garmes as a guy who understands the consequences of a lifetime on the fringes. He doesn't wink at the audience and for that, "The Last Run" is a seriously overlooked film that ranks with "The Outfit" and "Prime Cut" as three no-nonsense early 70's examples of the crime picture done amazingly right.
A troubled production from the start, "The Last Run" barreled through several directors (including John Huston) before Fleischer came on board. It probably wouldn't have been quite as successful without the star status of Scott... an interestingly low budget choice for an actor spring boarding off his home run performance in the blockbuster "Patton" a year earlier. And it is Scott who gives the film its grizzled pessimism... portraying his character Harry Garmes as a guy who understands the consequences of a lifetime on the fringes. He doesn't wink at the audience and for that, "The Last Run" is a seriously overlooked film that ranks with "The Outfit" and "Prime Cut" as three no-nonsense early 70's examples of the crime picture done amazingly right.
A Neo Noir Getaway Driver's Getaway
cultfilmfreaksdotcom16 November 2018
There's something about Tony Musante that makes you want to punch him in the nose. Or if you're not the violent type - to have someone else do it. Which is perfect for an actor like George C. Scott, who didn't suffer fools and would scrap with just about anyone, on or off the set...
In THE LAST RUN Scott plays an aged getaway driver hired to take an escaped convict... whom he helped escape... on a score, and the entire Spain setting takes place either in the adobe brown countrysides, painted landscapes and, there and back again, a cool blue, fishing-boat beach. The tagline states, "In the tradition of Hemingway and Bogart," but with a Jerry Goldsmith score detailed by a haunting, reposeful harpsichord, it's really more of a Spaghetti Western with sporadic bursts of action between a "two's company, three's a crowd" road trip from one double-cross to another chance to score, with some twists and turns that shouldn't be spoiled in-between...
Stretched upon another intentionally bleak, atmospheric Neo Noir canvas by director Richard Fleischer, the action ala chase scenes and roadside shootout sequences flow smoothly at times, awkward at others within the parenthetical, motel-hopping, uneven yet savory dialogue, so it's about the characters, guided by their reactions to and against each other rather than the situation at hand, which needed more urgency, overall...
Meanwhile, the signature Spaghetti "revenge" element is portioned out to the audience as it's learned and dealt with by our main man, going from "over his head" to "in too deep" while far from alone in this particular, road-weaving purgatory that includes a brief June/November romance that's more a contrived male fantasy than being necessary to the overall story-line. Then again, this is pulp and it's fiction both. In droves - literally.
As the ingenue, Trish Van Devere delivers lines in a sort of dreamy, lifeless monotone, and she doesn't provide any chemistry in either direction as Scott's initial abhor for the cocky and condescending Musante shapes into something of an Uncle/Nephew who still have it in for each other, and the anti-chemistry works...
Once the trio hooks up during the second act there's a slick, cool, slownburn pace after suffering through a somewhat grueling rudimentary stage: by his rugged, granite looks and tough guy name alone, Scott's Harry Garmes need only exist in a sparse tale that initially tries too hard to establish his rabbit's-foot-religious yet existential character (in a loose "relationship" with a hooker played by ex-wife Colleen Dewhurst) who does only one thing well, and may or may not have waited too long for his return to it. In that, literally from the onset, the title explains everything about him while, at the same time, giving everything away.
In THE LAST RUN Scott plays an aged getaway driver hired to take an escaped convict... whom he helped escape... on a score, and the entire Spain setting takes place either in the adobe brown countrysides, painted landscapes and, there and back again, a cool blue, fishing-boat beach. The tagline states, "In the tradition of Hemingway and Bogart," but with a Jerry Goldsmith score detailed by a haunting, reposeful harpsichord, it's really more of a Spaghetti Western with sporadic bursts of action between a "two's company, three's a crowd" road trip from one double-cross to another chance to score, with some twists and turns that shouldn't be spoiled in-between...
Stretched upon another intentionally bleak, atmospheric Neo Noir canvas by director Richard Fleischer, the action ala chase scenes and roadside shootout sequences flow smoothly at times, awkward at others within the parenthetical, motel-hopping, uneven yet savory dialogue, so it's about the characters, guided by their reactions to and against each other rather than the situation at hand, which needed more urgency, overall...
Meanwhile, the signature Spaghetti "revenge" element is portioned out to the audience as it's learned and dealt with by our main man, going from "over his head" to "in too deep" while far from alone in this particular, road-weaving purgatory that includes a brief June/November romance that's more a contrived male fantasy than being necessary to the overall story-line. Then again, this is pulp and it's fiction both. In droves - literally.
As the ingenue, Trish Van Devere delivers lines in a sort of dreamy, lifeless monotone, and she doesn't provide any chemistry in either direction as Scott's initial abhor for the cocky and condescending Musante shapes into something of an Uncle/Nephew who still have it in for each other, and the anti-chemistry works...
Once the trio hooks up during the second act there's a slick, cool, slownburn pace after suffering through a somewhat grueling rudimentary stage: by his rugged, granite looks and tough guy name alone, Scott's Harry Garmes need only exist in a sparse tale that initially tries too hard to establish his rabbit's-foot-religious yet existential character (in a loose "relationship" with a hooker played by ex-wife Colleen Dewhurst) who does only one thing well, and may or may not have waited too long for his return to it. In that, literally from the onset, the title explains everything about him while, at the same time, giving everything away.
stylish and underrated modern noir
marksulli-9598511 March 2021
I love this film, and really do wonder about the sensibility of contemporary reviewers who just didn't get it.
My favourite scene is when Trish Devere is using the shared pension bathroom to dry her underwear, explaining to Scott that she can't be expected to "walk around in wet knickers". Scott smirkingly replies, "which wouldn't bear thinking of", and receives a "death at forty paces" glare from Devere !
Better than you might expect
philipjcowan-119-64660230 June 2012
Warning: Spoilers
This film was apparently panned by the critics on its release and it did not do well commercially. However, it is still worth a look and I think it has aged quite well, compared to many films of its time.
George C Scott is always worth watching, even when he is not at his best, and perhaps this is not his most memorable performance.
Despite the screenplay focussing on a bunch of gangsters, Scott's character (Harry Garmes) is still sympathetic, with his own moral standards and, if somewhat bleak, personality.
It is clear from the beginning that Harry Garmes is doomed — the very name of the film gives that away — but you are rooting for him, despite his destiny. He is an old man, and the end is near, but he is not going down without a fight. Maybe it is just my age, but I rather relate to that.
By far the best part of the whole project is the near-forgotten Jerry Goldsmith theme music. A beautiful and haunting piece that will remain with you long after the film has been forgotten.
George C Scott is always worth watching, even when he is not at his best, and perhaps this is not his most memorable performance.
Despite the screenplay focussing on a bunch of gangsters, Scott's character (Harry Garmes) is still sympathetic, with his own moral standards and, if somewhat bleak, personality.
It is clear from the beginning that Harry Garmes is doomed — the very name of the film gives that away — but you are rooting for him, despite his destiny. He is an old man, and the end is near, but he is not going down without a fight. Maybe it is just my age, but I rather relate to that.
By far the best part of the whole project is the near-forgotten Jerry Goldsmith theme music. A beautiful and haunting piece that will remain with you long after the film has been forgotten.
The Last (but not necessarily great) Run
Coventry2 February 2024
With two fantastic directors (Richard Fleischer, but also John Huston) and one of the most iconic macho-actors (George C. Scott) involved, I can't deny I expected a little bit more from "The Last Run". Sure, it's an entertaining enough thrill-ride with a strong lead performance and a couple of impressively photographed action/car chase sequences, but the plot is strictly routine and as thin as can be. Good old George is a retired getaway driver/wheelman for a criminal syndicate, living in a Portuguese coastal town. Purely to prove to himself he still has the skills after nine years of non-activity, he accepts one last job, but evidently it turns out to be a fishy one. With a minimalistic plot like this, there inevitably are many "filler" sequences. There are two subsequent opening/potential credits' scenes, for instance, one with George fixing up his car and another one with him test-racing. He also muses a lot about the past and smokes about 30 packs of cigarettes throughout the entire movie. "The Last Run" isn't boring, or at least never for longer than a minute or two, but you also guess exactly what'll happen long before it happens.
A Race to the End
rkbyers31 December 2005
Subtlety is everything in understanding the Last Run. It is a movie about lost dreams and lives that didn't turn out quite like things were planned. The protagonist is not old Harry Garmes, retired and living the good life, a beautiful spot in seaside Portugal. If anything, Harry is the antagonist: he is the one who made it past all the danger only to be caught up in the real web of life. Harry thought life would be perfect, but it isn't. He wakes up at the beginning of this film and discovers he has nothing, despite having almost everything he thought he wanted. As others have said, this is existential, to be sure, but so beautifully sublime, I could only wish more movies were made like this, replete with beautiful cars for those who know, in contrast to the flashy but horrid handling boats like the bloated 428 Mustangs.
The protagonist is the car, the exquisite BMW 503. Harry comes back to the car, not all the other things surrounding the plot. He resurrects the car along with himself. Watch the careful way he sets the floats, listens to the engine the old way, with a rubber tube. He does it carefully, step by step dusting himself off at the same time. he does it with devotion and love. Harry knows that things aren't as important as living and he only feels alive when driving the car. Harry comes alive when he is driving "her" and he is only too happy to make one more run for his old employer's friends. He wants to feel again, something that the pain of life has beaten out of him slowly. Remember, Harry retired 9 years before;he knows he's a dinosaur, just like his car. He knows he is dying, albeit of complacency and scar tissue, and wants a chance at life... one more chance to be alive. He wants to dance with someone he loves. His driving mirrors real life. His love is really the car, the only thing he has left of which he is capable of loving, Trish Van Devere's underwear notwithstanding. To any car buff, the sound of the supercharger engaged in this car is a thrill beyond measure. There are no fat tires, no suspensions on the ground, no huge engines. In fact, the 503, cum supercharger wasn't even all that fast in its day. In 1971, the XJ6 with a 4.2 liter engine would have made a good match for the old Beemer. Tony Musante is perfect in the guise of the young action oriented hit-man who can only have fun by hurting and killing things. It's a perfect scenario of the modern world steamrolling art. When you add the scenery and a gorgeous Trish Van Devere, who I think later married George C., Colleen Dewhurst, whose acting is stunning, how can anyone think of a better action movie? Subtlety in art is better than flash and tinsel. Nevertheless, maybe it would lose in a ballot to what passes for art these days.
The protagonist is the car, the exquisite BMW 503. Harry comes back to the car, not all the other things surrounding the plot. He resurrects the car along with himself. Watch the careful way he sets the floats, listens to the engine the old way, with a rubber tube. He does it carefully, step by step dusting himself off at the same time. he does it with devotion and love. Harry knows that things aren't as important as living and he only feels alive when driving the car. Harry comes alive when he is driving "her" and he is only too happy to make one more run for his old employer's friends. He wants to feel again, something that the pain of life has beaten out of him slowly. Remember, Harry retired 9 years before;he knows he's a dinosaur, just like his car. He knows he is dying, albeit of complacency and scar tissue, and wants a chance at life... one more chance to be alive. He wants to dance with someone he loves. His driving mirrors real life. His love is really the car, the only thing he has left of which he is capable of loving, Trish Van Devere's underwear notwithstanding. To any car buff, the sound of the supercharger engaged in this car is a thrill beyond measure. There are no fat tires, no suspensions on the ground, no huge engines. In fact, the 503, cum supercharger wasn't even all that fast in its day. In 1971, the XJ6 with a 4.2 liter engine would have made a good match for the old Beemer. Tony Musante is perfect in the guise of the young action oriented hit-man who can only have fun by hurting and killing things. It's a perfect scenario of the modern world steamrolling art. When you add the scenery and a gorgeous Trish Van Devere, who I think later married George C., Colleen Dewhurst, whose acting is stunning, how can anyone think of a better action movie? Subtlety in art is better than flash and tinsel. Nevertheless, maybe it would lose in a ballot to what passes for art these days.
George C. Scott at his best
Oliver-5026 September 2004
Well made dramatic thriller about an ex-driver for the mob, now retired and living on a beach with nothing else to do, and nothing else he knows how to do. When he's called upon after nine years to perform a job he takes it, simply to see if he can still do it. Scott is the best reason to watch this other-wise standard chase film; As the aging driver who's lost everything and has nothing to do but die, he is masterful. This is one of his finest (and most under-rated) performances. An engaging film with some intense moments of action and a great existentialist feel to it. Doesn't quite hit it's mark at times, but worth-while for Scott. Good photography.
*** out of ****
*** out of ****
aims high, misses mark
rupie28 September 2004
I caught this film on TCM and watched it with great curiosity and expectation, never having heard of it, and of course intrigued by anything with the great George C. Scott in it. I understand perfectly what the movie is aiming at, i.e. a sort of "Old Man of The Sea" of the crime world. However, despite adequate performances and fine cinematography, it left me a bit cold. Although the point was made, something about the execution - script? direction? what ? - left a bit of a void. None the less it is worth watching for all Scott fans. (Of interest is the fact that Scott was married - at different times - to both of his female costars, Coleen Dewhurst and Trish Vandervere.)
Attracted to the attitudes, not the action
davebeedon8 May 2006
Warning: Spoilers
Possible spoiler about the ending
Others have adequately described the plot. I saw this movie shortly after it came out and loved it. Being able to see it again was a treat---like visiting a friend one hasn't seen in years (in this case, 34 years). The best aspect of the movie is that it respects the act of thinking and portrays it with pauses, facial expressions, and moments of no dialog.
Underlying the main character's actions and attitudes was a bleak, fatalistic view of life (existentialism?). While I dislike "action" for action's sake, I enjoyed the car chase sequences because they served to define the main character's profession and mental state. And in spite of the well-shot car chases, this is not an action movie. Rather, it is about the actions that people take and the reasons for their doing so.
Though the main character was a retired crook, I liked him, and felt sorry for him because he was double-crossed by his employers. It hurt me to see him discover that his fisherman friend Miguel had been killed. The young woman's cynical manipulation angered me but I felt sorry for her because she was making choices about life that were guaranteed to make it a miserable one. The Tony Musante character was immature, heartless, and despicable: I hated him. That he seemed to get away in the end was a letdown.
Just before the end there is a pair of camera shots that reek of symbolism and were my favorite moments: when the policeman turns off the ignition of the battered car, the main character, who is elsewhere, dies. This understated and underrated film was a delight.
Others have adequately described the plot. I saw this movie shortly after it came out and loved it. Being able to see it again was a treat---like visiting a friend one hasn't seen in years (in this case, 34 years). The best aspect of the movie is that it respects the act of thinking and portrays it with pauses, facial expressions, and moments of no dialog.
Underlying the main character's actions and attitudes was a bleak, fatalistic view of life (existentialism?). While I dislike "action" for action's sake, I enjoyed the car chase sequences because they served to define the main character's profession and mental state. And in spite of the well-shot car chases, this is not an action movie. Rather, it is about the actions that people take and the reasons for their doing so.
Though the main character was a retired crook, I liked him, and felt sorry for him because he was double-crossed by his employers. It hurt me to see him discover that his fisherman friend Miguel had been killed. The young woman's cynical manipulation angered me but I felt sorry for her because she was making choices about life that were guaranteed to make it a miserable one. The Tony Musante character was immature, heartless, and despicable: I hated him. That he seemed to get away in the end was a letdown.
Just before the end there is a pair of camera shots that reek of symbolism and were my favorite moments: when the policeman turns off the ignition of the battered car, the main character, who is elsewhere, dies. This understated and underrated film was a delight.
Good George C Scott vehicle
atari-34 October 1999
Warning: Spoilers
I was drawn to this film for two reasons: actor George C. Scott, and cinematographer Sven Nykvist. I was disappointed by neither. There is a story in here if you stick with it, particularly in the relationship between Scott's character and the girl. A tribute to Scott's great ability is my empathetic reaction to everything his character goes through, I cared about this man, and was truly let down by how it all ended for him. Old men should not have to die alone.
Review of The Last Run (1971)
rce-514 June 2006
This is a movie I would love to see come out on DVD or VHS, and am surprised after all these years it hasn't.
George C. Scott is the real reason to see this picture. An intimate portrayal of retired mobster driver/runner Harry Garmes, and certainly one of Scott's best performances. The other reason to see The Last Run (1971) is the final and true love of his character's life, his 1957 BMW 503. They are a pair, and after 9 years of quiet retirement in Portugal, (filmed on location in and around Malaga), Garmes is feeling the old love of the chase surfacing again.
Lonely, bored and disappointed in the realities of retired life, he accepts an assignment to pick up a young hit man sprung from prison, and transport him (and unexpectedly his girlfriend, too) across the border into Spain. Of course, the prospect of one last run in the tradition of his former profession excites Garmes, and his "hobbies" of tinkering with his vintage supercharged sports car and gun become once again professional realities for him.
The chase scenes, especially between Garmes and his '57 BMW and the hit men's Jaguar XJS, are superb, without the special effects permeating films made since, and the whole movie somehow conveys a "vintage" and authentic feel, from Garmes' leather flight jacket to his supercharged old friend and partner. His sensitive acting is a study in an empathetic yet unsympathetic portrayal of Garmes, and George C. Scott fans will not be disappointed.
The downside of the picture is the at times ponderous and clumsy direction and also the other characters, (excepting Colleen Dewhurst, who in a near cameo is at her earthy and gritty best). The picture has an overtone of at times depressing realism, and this might well have triumphed under skillful direction. John Huston began the film from all accounts, and it's a pity he didn't complete the picture. The pace drags at times, and there are some truly awful and lame scenes, especially the incredibly disappointing and mawkish ending, which Huston never would have permitted. If it weren't for these, this could have been a great film. But if you can overlook such and appreciate Scott, his vintage car, and the chase scenes, it is a memorable movie.
Will it ever be available in DVD or VHS? Hope so! -RC Evans
George C. Scott is the real reason to see this picture. An intimate portrayal of retired mobster driver/runner Harry Garmes, and certainly one of Scott's best performances. The other reason to see The Last Run (1971) is the final and true love of his character's life, his 1957 BMW 503. They are a pair, and after 9 years of quiet retirement in Portugal, (filmed on location in and around Malaga), Garmes is feeling the old love of the chase surfacing again.
Lonely, bored and disappointed in the realities of retired life, he accepts an assignment to pick up a young hit man sprung from prison, and transport him (and unexpectedly his girlfriend, too) across the border into Spain. Of course, the prospect of one last run in the tradition of his former profession excites Garmes, and his "hobbies" of tinkering with his vintage supercharged sports car and gun become once again professional realities for him.
The chase scenes, especially between Garmes and his '57 BMW and the hit men's Jaguar XJS, are superb, without the special effects permeating films made since, and the whole movie somehow conveys a "vintage" and authentic feel, from Garmes' leather flight jacket to his supercharged old friend and partner. His sensitive acting is a study in an empathetic yet unsympathetic portrayal of Garmes, and George C. Scott fans will not be disappointed.
The downside of the picture is the at times ponderous and clumsy direction and also the other characters, (excepting Colleen Dewhurst, who in a near cameo is at her earthy and gritty best). The picture has an overtone of at times depressing realism, and this might well have triumphed under skillful direction. John Huston began the film from all accounts, and it's a pity he didn't complete the picture. The pace drags at times, and there are some truly awful and lame scenes, especially the incredibly disappointing and mawkish ending, which Huston never would have permitted. If it weren't for these, this could have been a great film. But if you can overlook such and appreciate Scott, his vintage car, and the chase scenes, it is a memorable movie.
Will it ever be available in DVD or VHS? Hope so! -RC Evans
the last run
mossgrymk13 October 2021
As the pres alluded to below this film is more notable for George C. Scott's marital affairs at the time it was made than it is for the interest in the character Scott plays or the story in which he's enmeshed. Most of the fault for this can be laid, in my opinion, at the feet (or typewriter) of scenarist Alan Sharp whose dialogue gets talky when it should be laconic (i.e. Scott philosophizing about death when sleeping with his future wife, Trish Van Devere)) and closemouthed when it should be informative (i.e. Sure would have liked to know why Scott's wife...the one in the movie, not real life...left him after their kid died and why the whore played by Scott's first wife...the one in real life, not the movie...betrayed him). Still, the scenes of conflict between Scott's old timer and Tony Musante's young punk (Musante is very good at playing young punks) work well and veteran director Richard Fleischer does a good job with the action scenes, and it's kinda fun to see Portugal, Spain and Southern France through the lens of Sven Nyqvist. So let's give it a B minus.
Could have been much better
joachimokeefe31 March 2007
Spoiled by the laborious setup, The Last Run seems to be turning into a travelogue at the start. Once it gets into its stride and the car chases start, it becomes an interesting three-hander, but there seems to have been a total loss of focus by writer and director, as explained in the trivia. George C. Scott also seems to sleepwalk through a few scenes, but it's atmospheric and doesn't fizzle out. I wonder what John Huston would have done with it in the end. If you've never seen it, it's worth watching for the authentic car shenanigans - and the plot is strong enough to carry it. If you have to get popcorn and beer first, don't worry about missing the first ten minutes.
Negative comments indicate viewers missed the point
sherrillita12 August 2001
The Last Run is a psychological analogy and public expression of George C. Scott's complicated, intense relationships with Colleen D. and Trish V. Although low-key and ahead of its time, The Last Run is entertaining if you enjoy adult drama which examines details of relationships, emotion, fear of death, determination to succeed, and guilt. George C. Scott's characterization of an aging criminal is intensely quiet and effective.
Slowest Car Chases in Film History
angelsunchained8 October 2018
George C. Scott is about the only good thing in this movie. Tony M. can not act. He always plays the same character in every movie and is basically a cartoonish version of a tough guy. The car scenes are really weird; slow and slower and boring. Even the few shoot outs are dull and boring and slow. No on screen chemistry between any of the actors, yet Scott fell in love on this movie set and divorced his wife. I can't figure any of it out. If you are a fan of George C. Scott, see this film. If not, forget about it.
El Stinko
verbusen1 October 2005
Warning: Spoilers
I caught this movie last night on TCM Middle East and I don't have a lot of access to older movies (which is about all I watch on TV), so for me to watch any movie means I had an interest in it. My interest was of course George C Scott. All in all, I was not to impressed by this turkey. The whole thing with him being a burned out getaway driver has to be spelled out to us, and there is no build up of his wife leaving him or of him pulling his last big job before he goes into retirement. I ask all the people who seem to love this film, wouldn't that have made this a better film? Of course that would have meant a bigger budget which this film is sadly lacking. Yeah the scenery was very pretty, and it was very cheap to film too I'm sure. But you know this is a movie about a getaway driver and the premise is that the deal goes bad, so it's supposed to be an ACTION film, not a PBS travel log. It's characters are pretty much forgettable and we are forced to endure Scott drive around in very long boring scenes that lack any realistic action (or any action!). Add on top of it all a spaghetti western soundtrack and its getting almost unwatchable. As a matter of fact if I was in the states I would have turned it off but like I said I'm in the desert without much stuff to watch thats old so I stayed with it just to see the lame ending. Another reviewer made some comment about Scott crashing the car, and that signified Scott's death as well. Boy I must be on a different plain because when I watched this I didn't even think about that, and I doubt the director did either. Scott wasn't driving the car anyway. One personal note, Scott has his shirt off through part of this film and I noticed he doesn't look too fit. I also thought about how my chest looks since I'm about his age in this film, and I realized I'm probably not the stud I think I am. When you are watching a film thinking about stuff like that it means the films very boring, El Stinko.
Is there life after death?
Keith-355 March 2005
Last Run tells the story of a retired get-away driver who come to think of retirement as slow death. And so takes one last job.
He retired to Portugal, bought a house and a boat, to live happily ever after. But it doesn't work out that way. His 3 year old son died, his new wife left for another lover, he rented his boat to a real fisherman on realising he's a hopeless fisherman; he leads a lonely life.
He takes a job nine years later to prove to himself that he's still capable, that he's not dead. He wishes more than ever to do the job well; and he does.
This movie touches on the meaning of death and what it takes to be alive. Its a personal journey an sums up middle aged life.
I particularly liked the use of the car. It was filmed beautifully with authentic sound and driving: no special effects, just an honest representation as the last love in his life. It was refreshing to see the driver fighting the live rear axle as he negotiated mountainous bends at speed. Now there's something missing from modern movies.
He retired to Portugal, bought a house and a boat, to live happily ever after. But it doesn't work out that way. His 3 year old son died, his new wife left for another lover, he rented his boat to a real fisherman on realising he's a hopeless fisherman; he leads a lonely life.
He takes a job nine years later to prove to himself that he's still capable, that he's not dead. He wishes more than ever to do the job well; and he does.
This movie touches on the meaning of death and what it takes to be alive. Its a personal journey an sums up middle aged life.
I particularly liked the use of the car. It was filmed beautifully with authentic sound and driving: no special effects, just an honest representation as the last love in his life. It was refreshing to see the driver fighting the live rear axle as he negotiated mountainous bends at speed. Now there's something missing from modern movies.
Fairly dull '70's romp, made worthwhile by George C. Scott.
Boba_Fett11388 April 2007
This is a fairly dull typical '70's movie that tries to be more than it really is.
Problem is that there isn't much interesting ever happening in this movie, with also an unnecessary and also far from believable love triangle story in it. Hard to imaging that George C. Scott and Trish Van Devere actually got married one year later, after this movie. The movie movie clearly lacks a good main plot line and gets mostly carried purely by George C. Scott's performance.
In this movie George C. Scott once more shows his talent, by giving away one fine performance. But no matter how good he is in his role, he still feels miscast. Even though Scott was 'only' 44 at the time, he already looked far too old for his role, to consider him really believable. George C. Scott just wasn't an actor who aged really well. When he was 40 he already looked like he was 60 years old. The rest of the cast consists out of insignificant actors, who show why they never broke through as actors.
At times the movie still is a typical '70's movie, with a good atmosphere and way of storytelling. Yet the movie doesn't always feel coherent, since its good at some times and completely dull and uninteresting to follow at others. It perhaps has to do with the fact that famed director John Huston walked from the movie after having heated arguments with George C. Scott over some script changes.
Only a typical '70's car chase is good enough to grab your attention for a short while but the movie swiftly becomes less exciting and more dull after that again. The movie really could had used some more action and at least more speed at times.
The movie tries hard to be in the same style as some old classic '40's but neither the script nor characters allow this movie to ever get close. The movie should had sticked more to its own style and time period.
Really only worth watching because of George C. Scott.
5/10
http://bobafett1138.blogspot.com/
Problem is that there isn't much interesting ever happening in this movie, with also an unnecessary and also far from believable love triangle story in it. Hard to imaging that George C. Scott and Trish Van Devere actually got married one year later, after this movie. The movie movie clearly lacks a good main plot line and gets mostly carried purely by George C. Scott's performance.
In this movie George C. Scott once more shows his talent, by giving away one fine performance. But no matter how good he is in his role, he still feels miscast. Even though Scott was 'only' 44 at the time, he already looked far too old for his role, to consider him really believable. George C. Scott just wasn't an actor who aged really well. When he was 40 he already looked like he was 60 years old. The rest of the cast consists out of insignificant actors, who show why they never broke through as actors.
At times the movie still is a typical '70's movie, with a good atmosphere and way of storytelling. Yet the movie doesn't always feel coherent, since its good at some times and completely dull and uninteresting to follow at others. It perhaps has to do with the fact that famed director John Huston walked from the movie after having heated arguments with George C. Scott over some script changes.
Only a typical '70's car chase is good enough to grab your attention for a short while but the movie swiftly becomes less exciting and more dull after that again. The movie really could had used some more action and at least more speed at times.
The movie tries hard to be in the same style as some old classic '40's but neither the script nor characters allow this movie to ever get close. The movie should had sticked more to its own style and time period.
Really only worth watching because of George C. Scott.
5/10
http://bobafett1138.blogspot.com/
A splendid film for those with a taste for existentialism
Oskado9 August 2003
Other viewers' comments, both negative and positive, have aptly classified this film's genre. Those with inclination toward existentialist thought (e.g., why are we here and what are the best options before embracing the void?) generally like it. I think the film great and wish it were available on DVD. Others find it vapid. Yet I think the theme similar to that found in Blade Runner or Pierrot le Fou - though different from, say, Kafka's Metamophosis, or The Trial, or from Camus' The Stranger, etc., in that this film's protagonist undergoes emotional development - along with another character who fears her fate and sees no other path to follow.
Our protagonist's past life as an underworld character is significant not in the cops-and-robbers sense, but rather as an earmark of his "loner" personality - like Camus' Stranger. He's a retired individualist - like Blade Runner's Deckard - who after a career on the "outside" is sucked against his will into a melee of action and intrigue. All he'd longed for was to finish out his days in peace - in Portugal - though one can wonder if his automotive hobby (his surrogate child) and petty daily ritual could really have sustained him - yet such is the trap some see themselves born into; perhaps an earlier, unexpected coup de grace isn't to be under-appreciated.
Our protagonist's past life as an underworld character is significant not in the cops-and-robbers sense, but rather as an earmark of his "loner" personality - like Camus' Stranger. He's a retired individualist - like Blade Runner's Deckard - who after a career on the "outside" is sucked against his will into a melee of action and intrigue. All he'd longed for was to finish out his days in peace - in Portugal - though one can wonder if his automotive hobby (his surrogate child) and petty daily ritual could really have sustained him - yet such is the trap some see themselves born into; perhaps an earlier, unexpected coup de grace isn't to be under-appreciated.
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