It takes two to make it … The big two.
A recently released ex-convict and his loyal wife go on the run after a heist goes wrong.
A recently released ex-convict and his loyal wife go on the run after a heist goes wrong.
Steve McQueen Ali MacGraw Ben Johnson Al Lettieri Sally Struthers Slim Pickens Richard Bright Jack Dodson Dub Taylor Bo Hopkins Roy Jenson John Bryson Bill Hart Tom Runyon Whitney Jones Tommy Bush Raymond King Ivan Thomas C.W. White Brenda W. King W. Dee Kutach Brick Lowry Martin Colley O.S. Savage Dick Crockett A.L. Camp Bob Veal Bruce Bissonette Maggie Gonzalez Show All…
Guet-Apens, Побег, The Getaway - Ihre Chance ist gleich null, Ein Mann explodiert, La fuga, Getaway - Eine knallharte Gangster-Story, Le guet-apens
The Getaway is a greasy, sociopathic Texas Noir based upon a Jim Thompson novel, scripted by Walter Hill and directed by Sam Peckinpah, starring Steve McQueen and Ali McGraw as criminals on the lam from other, more powerful criminals. Those are the most important things to know about The Getaway. Lesserly important things to know or to ask oneself is: how badly do you want to see Steve McQueen set a police car on fire by repeatedly emptying shotgun blasts into it in slow motion? Do you want to know if therapy kittens quicken healing of broken bones? The answer to that is yes and yes, kittens do. It is also to know that although it is as dark and…
Sam Peckinpah's work is tremendous here, as usual, but Walter Hill's screenplay surprised me the most. Not a stone unturned, with twists and turns and brutal moments that further develop the complexity of these characters. It's riveting throughout. Steve McQueen, Ali MacGraw, and Al Lettieri make up a fantastic cast, and Slim Pickens gives his all with just five minutes left on the clock. Quality cinema, through and through, with a hotel shootout that is typical Peckinpah poetic carnage.
“The Getaway” is Sam Peckinpah’s slickest piece of cinema output. Somehow, the sheen makes it even more disconcerting than even his most outwardly aggressive works.
“Getaway,” about a talented bank robber that bargains his freedom from prison for the price of leading one last job, is distinguishable for being an actor’s - rather than a director’s- cut.
Through a deal with studio heads, star Steve McQueen surprised even Peckinpah with a post-production revelation that he had rights to final edit over “Getaway.” Final - even past the reach of the work’s director.
Needless to say, this didn’t make the increasingly alcoholic auteur too happy. Even though, according to accounts, it was actually McQueen who at one point hurled a champagne…
"My old lady must've made you a lot of promises."
Without a doubt the most interesting editing and soundtrack decisions in a heist/car chase movie. The editing is frantic and jumpy, and it controls the tension of the film wonderfully, but there's also an atemporality to it that gives us insight into the characters' emotions in a unique and slightly unsettling way. The score integrates wild west elements to make McQueen and MacGraw feel like outlaws on the run, but it's also quite wonky and a bit distracting.
The two central performances are lovely, and their fraught relationship is at the core of the narrative, which makes the action more meaningful and gives everything a bit of weight. I had…
A bank heist turns into a fail,
With bad guys hot on the trail.
The escape is great,
But may be too late,
As Steve McQueen will always prevail.
Geoff T's Todd Gaines Challenge
Sam Peckinpah: The Getaway (1972)
This one was ace. I found it pretty difficult to track down, but it was definitely worth the effort. It's Sam Peckinpah directing a Walter Hill script about a convicted felon named Doc McCoy (Steve McQueen), who is bailed out by a corrupt businessman named Benyon after agreeing to a bank heist with his associates. The heist goes all wrong however, and Doc finds himself on the run with his wife Carol (Ali MacGraw) after being double-crossed by Benyon's associate Rudy.
McQueen and MacGraw probably don't make for a particularly interesting on-screen couple, but I did care about them enough to continue sitting through. Rudy (played by Al Lettieri) on…
Peckinpah marriage counselling by way of the closest he could get to a rom-com.
Steve McQueen channeling the rage of a man who lives in a world of grassing bastards, because that's exactly what he is. No frills, no airs, no graces. Buckshot and crumpled body paneling, blood and fire.
The image of McQueen stood on the stairs and dropping the cloth on his shotgun is iconic.
A cracking audio-unique 70s crime, heist, rom-com road actioner from Sam Peckinpah, featuring scoring that at times sounds like a comb brushing its teeth, while McQueen drips masculinity and beats the fuck out of coppers, criminals and thieves alike, physically and mentally, while Ali MacGraw fucks up and gives him some home truths.
Rubbish never seemed so terrifying.
A 70s action movie that could pass for a present day art film- the intimate scenes after Doc is released from prison are genuine and touching, the relationship portrayed goes way past the stock romance that is prevalent for the genre.
Some tasteless and repugnant business with the veterinarian's wife is the only detractor; it seemed quite out of place and unwanted in regard to the quality of everything else.
Rudy: That's a walk-in bank. You don't have to be Dillinger for this one.
Doc: Dillinger got killed.
Rudy: Not in a bank.
Better Peckinpah than The Wild Bunch in my opinion. Whereas The Wild Bunch succeeds on its own merits despite being way too on the nose with its death of the old west imagery and a jumbled handling of its flashbacks, The Getaway just unleashes its story head-on, so what we're left with is the excitement and tension of bank-robbing movie stars flying across Texas.
With that, it still has Peckinpah's flare for outlandish violence and pulpy vibe that takes it to even higher level. Scenes like the couple hiding in the back of the garbage truck or…
There's nothing about this film that isn't brilliant. At least, nothing I can think of. Peckinpah really took it to another level here and that's remarkable for a man whose entire career was based on taking things too far. The thing is that this film has elements that are disturbing even now.
Too many filmmakers these days look to shock for it's own sake, but Peckinpah was doing shock and violence before Tarantino grew out of diapers. In a lot of ways, he did it better. The violence in this picture is cold and emotionless. It runs right through the characters and into you so that you're living inside of it. There's no need for characters driving around covered in…
This whole movie is a Steve McQueen heat check. He and McGraw’s charisma keep you captivated through a pretty decent heist flick.
Shout out to Quincy Jones for the jazzy score!
The Getaway is a coolest action packed film staring badass and cool Steve McQueen and Ali McGraw. McQueen let loose with a pump action shotgun is one of the greatest sights in the history of cinema.
Underrated crime drama with some killer editing and funky tunes from Quincy Jones. “Bloody Sam” and the “King of Cool”- a match made in heaven. Also it’s funny how McQueen gets a loaded rifle in roughly 15 seconds from that corner store; the 70s, a different time.
The heist at the beginning is incredibly thrilling and tense, but then instead of it feeling like one bad thing happening to the characters after another, it feels like the story just meanders until the climactic end.
The first time I saw this film was in my late-20s and I didn't much care for it. I had just read the fantastic Jim Thompson novel and didn't appreciate the film for what it was. Flash forward 15 years and this is a god damn masterpiece. Even the lovey-dovey stuff that usually doesn't work for me in Peckinpah films came off sweet and endearing. Having a few more miles on my odometer also alters the perspective. That opening montage alone is worth the price of admission.
Really uneven. Could have been a pretty solid movie if they lost 15-20 minutes of really bad attempts at humor.
Incredible action and some insane music. A good bit more entertaining than I was expecting.
There’s nothing like a gruff older guy who’s a little bit over his head on the run from the cops and the mob.
Steve McQueen is the coolest ever, especially when he's shooting shotgun in slowmotion in Sam Peckinpah's classic action thriller.
McQueen paired with Ali McGraw in this hypnotic violent movie gives one of his best and most emotional performances.
Entertaining Peckinpah film with one of McQueen's best performances, Ali McGraw on the other hand looks fabulous but is a lousy actress. Some excellent set pieces and good story, the only bit that lets it down is the Al Lettieri and Sally Struthers side story that slows things down and isn't very funny or have much point.
Steve McQueen is the ultimate bad-ass in this crime thriller. The ride or die swagger of this movie is fun, and being that it's from 1972, its impressive.
I'm surprised to hear that it wasn't critically appreciated when it came out, but overtime its gained more respect. I had a lot of fun watching this and felt like it was not as predictable as most other crime and thriller movies are from this time. It did very well at the box office and I'm dreading seeing the remake with Alec Baldwin, but its on my watchlist.
*New Beverly Cinema
THE GETAWAY is a classic action/crime/romance that hits all the right beats. It’s eventful, entertaining, and has fun ideas like the garbage truck sequence. Al Lettieri steals the show just a little bit.
Does it make sense that this movie is weirdly sleepy for following a couple on the lam after a literally explosive bank robbery? Maybe I just feel that way because it was the second part of a Steve McQueen double feature at the New Beverly, but I sorta didn't mind its lack of electricity. It's still tense enough when it needs to be, and is more invested in the characters (generally) than you'd expect from a crimey / actiony movie.
Unfortunately a lot of old-minded and gross misogyny here. Ali MacGraw's character here is more accessory than individual, someone who is pretty admirably devoted to a husband who clearly doesn't care much about her.
Always a sucker for Peckinpah, and I love that McQueen is frankly a bastard in this. The opening credit sequence should still be taught in film schools.