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Dust Devil
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« on: May 27, 2010, 03:22:58 PM »


The Getaway (1972) - (around) 7.5/10

It takes like an hour for this to really get going. After that the story picks up and becomes more interesting, and also ridiculous. Sam really let himself go with all those freeze-frames and silly music in the first half or so, he must have been under heavy influence.

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« Reply #1 on: May 27, 2010, 04:55:45 PM »

The Getaway (1972) - (around) 7.5/10

It takes like an hour for this to really get going. After that the story picks up and becomes more interesting, and also ridiculous. Sam really let himself go with all those freeze-frames and silly music in the first half or so, he must have been under heavy influence.

I didn't like this one at all, to be honest. Too much nonsense, and Ali McGraw is grating as hell.

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« Reply #2 on: May 28, 2010, 01:32:40 AM »

The Getaway (1972) - (around) 7.5/10

It takes like an hour for this to really get going. After that the story picks up and becomes more interesting, and also ridiculous. Sam really let himself go with all those freeze-frames and silly music in the first half or so, he must have been under heavy influence.
I like the early parts best, the actual getaway is quite dull. There are great scenes in the first act (the opening scene, McQueen and McGraw coming home, the heist) but the rest of the movie is something of a disappointment, yet watchable and modestly entertaining.

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« Reply #3 on: May 28, 2010, 02:58:52 AM »

I didn't quite understand what was the deal with Doc telling Carol to go screw Benyon; in the first part of the movie it looks as if Benyon is the playmaker (if something happened it was his doing), but later as the movie continues it is hinted that Carol is not a stranger to parties with other men (the scene in the bar). The fact that her boyfriend actually told her to do whatever is necessary to get him out of the prison doesn't add much logic to the whole story. All of a sudden that's bothering him?

I thought Ali MacGraw was hot in this one. I remember that in Convoy she looked like she was supposed to be black, though not very successfully.

« Last Edit: May 28, 2010, 02:59:53 AM by Dust Devil » Logged



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« Reply #4 on: May 28, 2010, 03:38:45 AM »

I didn't quite understand what was the deal with Doc telling Carol to go screw Benyon; in the first part of the movie it looks as if Benyon is the playmaker (if something happened it was his doing), but later as the movie continues it is hinted that Carol is not a stranger to parties with other men (the scene in the bar). The fact that her boyfriend actually told her to do whatever is necessary to get him out of the prison doesn't add much logic to the whole story. All of a sudden that's bothering him?

I thought Ali MacGraw was hot in this one. I remember that in Convoy she looked like she was supposed to be black, though not very successfully.
It's been over a year since I watched the movie so I can't remember all the details, but are you sure that Doc meant that she can go and fuck whoever necessary in order to get him out?

And yes Ali McGraw is hot in this one. I also like her in Love Story.

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« Reply #5 on: May 28, 2010, 06:17:58 AM »

I like the early parts best, the actual getaway is quite dull. There are great scenes in the first act (the opening scene, McQueen and McGraw coming home, the heist) but the rest of the movie is something of a disappointment, yet watchable and modestly entertaining.
This has been my posittion for quite a while, but I recently watched the Blu-ray and am modifying my stance. I still agree that the first half is miles above what follows, but there's enough in the second half that makes it worthwhile (chiefly the routine with Richard Bright, although the garbage truck bit isn't bad--were you watching, Sergio?). I do have to say, though, that if I'd had final cut on the film all the material with Al Lettieri and Sally Struthers would have gone (except they could still show up together at the hotel at the end--Struthers' unexplained presence would actually make her character more interesting). I like the bit where McQueen gets made and so goes next door and buys a shotgun and keeps it in the bag until it's time to use it. The shoot out at the end is kinda disappointing--there needed to be more to it. The Quincy Jones score is great.

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« Reply #6 on: May 28, 2010, 02:26:46 PM »

It's been over a year since I watched the movie so I can't remember all the details, but are you sure that Doc meant that she can go and fuck whoever necessary in order to get him out?

Well I don't know for sure, the movie doesn't tell that part of the story, but if you send a handsome chick to do whatever's necessary to get someone out of prison, and she has to visit an old corrupt businessman with a dirty face in the process, it seems that sort of stuff comes only as a bonus feature on the deal, hardly the main thing. Cheesy He should have known better.

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« Reply #7 on: May 28, 2010, 02:39:51 PM »

In the end, when the shooting starts - has anyone noted a slight similarity with another movie starring Dub Taylor?

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« Reply #8 on: September 18, 2011, 03:21:03 PM »

This has been my posittion for quite a while, but I recently watched the Blu-ray and am modifying my stance. I still agree that the first half is miles above what follows, but there's enough in the second half that makes it worthwhile (chiefly the routine with Richard Bright, although the garbage truck bit isn't bad--were you watching, Sergio?). I do have to say, though, that if I'd had final cut on the film all the material with Al Lettieri and Sally Struthers would have gone (except they could still show up together at the hotel at the end--Struthers' unexplained presence would actually make her character more interesting). I like the bit where McQueen gets made and so goes next door and buys a shotgun and keeps it in the bag until it's time to use it. The shoot out at the end is kinda disappointing--there needed to be more to it. The Quincy Jones score is great.

I watched the BD recently as well. There is some great Peckinpah stuff in this, but I think I also would have preferred it without all those Al Lettieri and Sally Struthers scenes. It certainly was a huge change from her role in "All in the Family". Imagine what Archie Bunker would have said!

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« Reply #9 on: September 18, 2011, 03:57:15 PM »

The Getaway (1972) - (around) 7.5/10

It takes like an hour for this to really get going. After that the story picks up and becomes more interesting, and also ridiculous. Sam really let himself go with all those freeze-frames and silly music in the first half or so, he must have been under heavy influence.

You mean the freeze frames during the credit sequence?
That whole opening is fantastic I think. Beautifully edited.

As for the 'influence', that was one film Sam didn't drink much during production.
He was in love and married on loaction. Steve and Ali fell in love, so it was
a happy production. Not a typical Peckinpah production. He was hired by
McQueen who needed a comeback film. Sam gave him that. Not much more. It was
a major success for both of them.

As for the music: It was nicely scored by Jerry Fielding, who was nominated
for an Academy Award for both WILD BUNCH & STRAW DOGS, but McQueen
replaced the score much to Jerry and Sam's horror 2 weeks before release
and Quincy Jones had to rush things. The only major flaw of the film.

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« Reply #10 on: September 18, 2011, 04:09:28 PM »

The Fielding score would have been good, but the one used is also good. I'm glad we have both.

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« Reply #11 on: September 18, 2011, 04:34:31 PM »

Nah, I don't think so. Toots Thielemans harmonica piece is great. The rest...
The Sam-gang referred to it as 'snorring pigs'. So do I by now.
The whole scoring makes the film slower and colder than it is.

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« Reply #12 on: September 18, 2011, 08:35:25 PM »

Yet Fielding's score is hardly exceptional. Snare drum to build tension during the heist? Yawn. And "Shall We Gather At the River" for the garbage dumping scene? Oh, how funny!

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« Reply #13 on: September 19, 2011, 04:30:14 AM »

I don't like the score either.

I wish there would be one day a reconstruction of the Fielding score as alternative version. McQueen also cut a few scenes out against Peckinpah's will.

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« Reply #14 on: September 19, 2011, 05:44:53 AM »

The current R1 copy of the film (the Blu-ray certainly, I think the DVD also, but I can't remember) offers the Fielding score as an isolated track. You can play it, but without dialog and sound effects. However, the disc also has, as an extra, something like the rough cut of the heist scene with the Fielding score, effects, and dialog.

Again, I think both scores are "good" (i.e. adequate). Except for the bank robbery, most of the cues of either score are very short. The film is memorable for the absence of music in several places. I think the film would work without any score at all.

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