Two best friends set out on an adventure, but it soon turns around to a terrifying escape from being hunted by the police, as these two girls escape for the crimes they committed.Two best friends set out on an adventure, but it soon turns around to a terrifying escape from being hunted by the police, as these two girls escape for the crimes they committed.Two best friends set out on an adventure, but it soon turns around to a terrifying escape from being hunted by the police, as these two girls escape for the crimes they committed.
- East Indian Motel Clerk
- (as Shelly De Sai)
- Silver Bullet Dancer
- (as Michael Delman)
Through his career, Ridley Scott was an eclectic film-maker because he broached (with success) several cinema styles: science-fiction with "Alien", historical film with "1492: Christopher Colombus". Here, he succeeded very well his way to the road-movie and this one is listed among the best road-movies ever made. At first look, the story looks simple and without too many claims: two young women, Thelma and Louise are going out for the week-end with the firm intention of having a ball. But what they don't know is that this drive will soon become a descent into hell... The movie is worth seeing for its two main actresses: Susan Sarandon and Geena Davis, both outstanding and what interests Ridley Scott, is their temperament and their evolution during the movie. At the beginning, a sensitive and fragile Thelma is next to a energetic and realistic Louise but in the second part of the movie, more precisely, after Thelma burglarized a shop (probably the best sequence in the whole movie) in order to grab money, roles are reversed. This is an occasion to make out Louise's wounds and weaknesses. So, don't rely too much on appearances... "Thelma and Louise" is also a movie where Scott takes a lucid look on the hidden side of the American society and especially on men. Scott introduces them to us with their worst faults: either they're macho (Darryl), obscene (the truck driver), perverse (the rapist) or coward (the cop). The only one saved is Harvey Keitel who never falls into the caricature of the American cop usually described to us as merciless or obsequious. Here, he shows understanding and even compassion towards the two runaways, notably Louise because he knows that she hides a terrible secret. A dynamic and panting movie where laugh and sorrow are skillfully married.
- Mar 13, 2003
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