Sunday, 26 April 2009
Thelma and Louise 
Thelma and Louise, in the great tradition of revisionist genre movies, did exactly what Ridley Scott perhaps intended – by having two working-class women as its protagonists instead of rugged, disillusioned men, it forever demythologized the very masculine concept of “hitting the road”. In that sense, it may be put on par with Unforgiven, Clint Eastwood’s classic revisionist Western that erased the elements of romanticism from the much loved all-American genre. Geena Davis, as an overtly naïve housewife who is treated like a piece of furniture by her supercilious husband, and Susan Sarandon, as a free-spirited lady with a loving if commitment-phobic fiancé (played with casual élan by Michael Madsen), form the eponymous all-girl couple who hit the road on a beaut of a beast – a Thunderbird convertible – to get away from ’em all. However, what was supposed to be a few days of fun and freedom turns ugly, and the two find themselves on the run from the law. Spectacular panoramic photography, snazzy soundtracks, smart screenplay that ensures smooth yet memorable development of the two principal characters, a scintillating car chase sequence, and an unforgettable climax (the final freeze frame is one for the ages), completely masked the somewhat B-grade look of the film and the not so inspired turns by the two ladies. Watch out for Harvey Keitel as a sympathetic cop and a young Brad Pitt as a glibly opportunistic small-time crook.
Director: Ridley Scott
Genre: Drama/Crime Drama/Road Movie/Buddy Film