Sick Product of a Sick System

Sadly Over-hyped

One of the worst ways to make a cult movie is to set out to make a cult movie.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

(Flash Review)Thin on story, heavy on Duke Boys style chases in some southern state. Fonda's character has dreams of becoming a NASCAR racer and he has a mechanic friend both in need of cash to build a car together. So these two idiots, rob a store to get money to build their car. At some point, a gal Fonda shagged, comes along for the ride as she was mad he thought of her as a one night stand. The characters aren't annoying and sprinkle of some light humor amongst the several long chase and crash scenes. High quality car stunts with no CGI and without speeding up the footage, led to fun excitement, lots of smashing and even a brave helicopter pilot getting in the mix. Will they escape to pursue their dreams or will they get outwitted by some pure southern cops? Not a good movie overall but is a very good movie early in the car chase genre.

I finally got the chance to watch DMCL, decades after enjoying it on network television back in the 1970s and it still is a very watchable and thrilling piece of filmmaking. First I have to compliment the way the story boarding brought the characters together. Deke (my favorite) joins up with Larry and eventually, Mary and the trio wind up running afoul of the law. Headed by a no-nonsense captain, his squad battle over ribbons of two-lane highways that showcase driving and flying skills as well as one of the most classic rides in muscle car lore, the 1969 Dodge Charger R/T 440. It could have been easy to scoff at Larry - an egotistical, narcissistic race car hopeful - paired with Mary, a very attractive woman who really talked far more than I could have tolerated. Deke was the moral compass who kept the whole operation from going belly up. While ready to take care of business, he showed a sense of compassion very early in the film and that moment was conveyed by Adam Roarke through moments of candor and even a simple smile. "Comedy" should also be added to the description of this cool retro chase flick. There are plenty of one-liners which keep the entertainment flowing, coupled with moments of facial expressions and glances by a number of the supporting cast. Also look for Hank, played by Eugene Daniels, as the ground-based obsessive patrolman, driving a pursuit special and the talent of James Gavin, who operates the Bell Huey helicopter. A fine piece of suspenseful flying. I revisit some of my favorite films that I recall as a youngster to see whether they could stand the test of time and DMCL definitely is one for the muscle car enthusiast. It's a classic, IMHO. As long as you get past Mary's incessant chatting.

Just a great classic '70s car chase movie. This is the kind of movie I grew up on, so I have a weakness for movies from this period. I like that it isn't anywhere near as slick and polished as modern movies, which while generally are more real and compelling visually, often oddly seem to feel less real emotionally than some older movies like this. All of the actors came through except for Peter Fonda, who really is just a terrible actor. He is talentless and no doubt only became an actor because his father Henry Fonda was so famous and successful in this line of work. A real highlight is that if you love cars like I do, the really sweet '69 440 Charger will make you ache some--what a great car. The biggest problem some people will have with this movie is that the protagonists are anti-heroes, frankly true and not particularly likable criminals, and some people won't like that you wind up rooting for them to get away (at least I did).

Imagine all the clichés of early 70s road movies rolled into one. A sub-par Bonnie and Clyde gang; a maverick sheriff who clashes with his by-the-book superior; a series of incompetent Dukes-of-Hazzard-style police chases. You've got yourself the plot of DMCL.Add to that the early 70s obsession with being gritty. The actual robbery sequence (stealing money from Roddy McDowall's safe while holding his family at gunpoint) is far nastier than it could have been and makes us lose all sympathy for the robbers. Strangely the film then carries on as if this hasn't happened and mostly (up until the "shock" ending) treats the characters in a light-hearted way. We're supposed to be on their side, despite one of them (with the complete approval of the other) having broken into someone's home, pulled a woman violently from the shower and held her and her daughter in a state of fear at gunpoint, then tied them up and left them, while McDowall is frantic about what has happened to them. There is even a threat that the child would be hurt if necessary. And he is shown as being the "good guy" of the gang! Susan George is oddly miscast as Mary. She unfortunately speaks an unpleasant accent (when she has such a good speaking voice normally). I have no idea why she is dirty, however.Peter Fonda is Larry, and to be fair, it is easy to see why he is 'crazy'. Mary is initially attracted to Larry but curiously seems to favour the third gang member (ie the house breaker) later after he gallantly defends her.The dialogue is either very banal or expositional and the action is the semi-comic no-one-really-gets-hurt car carnage common of the era.The "shock" ending is heavily telegraphed long before it happens and only seems to be there, like the robbery, be make the film look weightier than it actually is.