homersimpson_esq
Posts: 19962
Joined: 30/9/2005
From: Springfield
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While an analysis of Scott's early films reveals a consideration of thoughtful roles for women, one cannot deny that on the whole, the films are male-centric ones. From the honour-bound duelling of Scott's debut, through the male-dominated future, the world-weary, the headstrong, the tempted, and the revenge-filled, Scott's films are dominated by maleness. So, it can only have been a surprise when Scott decided to direct Callie Khouri's (ultimately Oscar-winning) screenplay about two women who go on the run after a crime of circumstance. Nevertheless, Thelma & Louise is shot through with Scott's trademark style and panache and lends the tale a true sense of beauty.
What makes Thelma & Louise particularly interesting is the way it plays with character. Ordinarily, women - even in the greatest of films - are reduced to wives, girlfriends, lovers, whores, daughters, sisters, mothers, victims. Their characters are based on stereotype, which is all that is needed for the audience to absorb that character. Meanwhile, the male roles are complex, varied, deep, and interesting. What Khouri's screenplay does is flip that idea upside-down. Keitel's state police officer and Madsen's on-off boyfriend of Louise are arguably the only two male characters who come across sympathetically. Even those, however, conform to stereotypes of one sort or another. We find out nothing about these characters' backgrounds, nor should we. We have the neglectful husband, the 'charming' guy who turns bad, the absent/sensitive boyfriend, the sympathetic (or 'good') cop, and the bored (and ultimately 'bad') cop, the chauvinist trucker, the 'brave' policeman, the stoner Jamaican, and even the old coot on the porch. These characters serve varying degrees of importance in the story - some initiate the story, some continue it, others are merely incidental. None have anything more than their stereotypical image to inform their actions on screen. Meanwhile, the titular characters undergo a range of emotions, the person 'in charge' alternates throughout, and most significantly they both have a past that stretches beyond the start of the film. Louise has some unspoken-of incident in Texas, and Thelma, pointedly, has no past. At least, none of any note, which of course is part of her motivation for the events of this film in the first place.
One doesn't need to understand or even know of this reversal of traditional male-female roles to enjoy the film, however. It is an exciting and surprisingly funny tale of circumstance, bonding, self-realisation, freedom from oppression, and sisterhood. The film is clever enough to knock any thoughts of latent lesbianism out the window as there are two distinct scenes that unequivocably counter that argument. Louise's intense and lingering breakfast kiss with Jimmy, and more obviously Thelma's more passionate time with JD (a debuting Brad Pitt).
Of course, as I found out to my demise some 12 years ago, it is impossible to talk about Thelma & Louise without mentioning that now infamous ending. Infamous or not, I'll put the following part of the review in invisiotext for the benefit of those who have not yet seen the film. ---> At the point at which Thelma starts to properly take control when the traffic cop stops them, it is clear that events have gotten a little past the previously level-headed Louise. In the ensuing discussion (and one after Louise calls Daryl's house to speak with the police), it becomes clear that Thelma has nothing to go back for, and Louise only has Jimmy; an idea she refutes saying, 'Jimmy's not an option'. At this stage we know that there is nothing worth going back for. In fact, were they caught, they would be tried for murder one, armed robbery, kidnapping a police officer, destruction of property, and so forth. Indications in the subsequent conversations between Thelma and Louise allow us to slowly come to terms with the finality of the journey. They are given the option of coming out 'dead or alive'. Thus it is, after the clearly futile chase, a beautifully shot sequence, that with the fleet of police cars with rifles trained on them and a world of pain and misery waiting for them behind, and a bitterly short but eternally sweet life ahead on the rocks below the Grand Canyon, the choice becomes obvious. That Scott decided to end the film on a freeze frame of the car as it is still heading slightly up, rather than allowing to continue its inevitable descent downwards is significant. In an alternate ending, the car goes all the way. In the shot used in the film, the freeze frame allows a moment of hope. Following the freeze frame with a series of mini-clips from the film allows us to see the part of the lives of this pair that we have witnessed as testimony to their decision. A bold ending to a bold film.<---
The acting is exceptional. Given the characters they have to play, each plays their part particularly aptly. The look of the film is, as is typical of Scott, beautiful. Not just the image of the sunbaked Western rocky mountains, but drizzly rain, and dull cloudy days to show the contrast between the pair's lives at home, and on the run. Hans Zimmer's music evokes the Western setting while fitting nicely with the song soundtrack of Country and Western music. The story is, as is evident above, note perfect. Each aspect of this film works as well as it should, and makes it a five star masterpiece. If you haven't seen this film yet, then might I suggest it be moved up your rental list. A modern American classic.
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That deep-browed Homer ruled as his demesne.  TREK WARS |
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RE: The Complete Ridley Scott - 
but Blade Runner was also quite special. Not as entertaining as Gladiator though. As for the rest of them, I've not seen them. I had the chance to watch a Good Year the other day. I passed.
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