Hal Needham, making his directorial debut after an illustrious career as a stuntman, makes the most of the action and progresses the film with a perfect light-hearted touch. While the joke wears thin very quickly, there are a number of amusing sequences, which are combined with some exciting road action to provide a mildly entertaining - and totally mindless - film.
That’s the sum total of the plot and the 97-minute running time is devoted to one long chase involving Reynolds and Field in a sporty Pontiac Trans Am, Reed and his dog in the 18-wheeler, Gleason and Henry in a patrol car that is slowly torn apart and various truckers, citizens band friends and bumbling cops. It turns out that her suitor (Mike Henry) was the son of the local sheriff (Jackie Gleason), who sets out in hot pursuit of the runaway bride. Hausu or Killer of Sheep.Burt Reynolds stars as Bandit, a devil-may-care trucker who, with his sidekick, Snowman (Jerry Reed), accepts a challenge to go to Texarkana, Texas, pick up 400 cases of Coors beer and return to Atlanta, Georgia, (a round-trip total of 1,800 miles) within 28 hours.Īlong the way, he picks up Carrie (Sally Field), a Broadway gypsy who has just jilted someone at the altar. All movies considered for this list needed to have a Tomatometer (after 5 reviews) and have been made during the decade, even if it didn’t get a major release until later, e.g. Low-budget exploitation ( The Last House on the Left, Mad Max), and a few things a willing warped mind can get off on ( The Man Who Fell to Earth, The Holy Mountain). There are the horror hallmarks ( Alien, Halloween) including international ( Suspiria, Deep Red), and box office game changers ( Star Wars, Jaws). You’ll find stories of lone men ( Taxi Driver, Dog Day Afternoon) and women ( Wanda, Norma Rae) against the system, and paranoid political thrillers ( All the President’s Men, Three Days of the Condor). The two moods we aimed to capture in this countdown: The wilting of ’60s flower power optimism under the harsh light of urban reality and decay meanwhile the destruction of the musty Hays Code - a musty ruleset that dictated what could be depicted on-screen for decades - suddenly allowing directors to pursue more personal expressions in film, often violent and sexual. Welcome to the 140 essential movies of the ’70s. Welcome to the days of disco and dirty deeds as we plunge into a new wave of movies: raw and renewed, unfiltered, while laying the groundwork for blockbuster era to come.
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