The Sugarland Express

It was thirty years ago this very month that Steven Spielberg made his official big-screen directing debut (his 1971 film DUEL being an excellent made-for-TV offering) with THE SUGARLAND EXPRESS. Even at this early stage in his career, Spielberg's directoral instincts were extremely sharp, and his concentration on the characters is masterful. It's amazing how people sell Spielberg short in this area simply because so many of his films seem to be all about special effects and gee-whiz heroics.

Loosely based on events that occurred in Texas in the spring of 1969, the film stars Goldie Hawn as an ex-con mother who springs her reluctant husband (William Atherton) from a prison farm so they can get their infant son back from a foster family that has refused to return custody to Hawn. But when they hijack a Texas state trooper (Michael Sachs) and force him to driver them to the town of Sugarland, they attract far more attention than they bargained for: mass media, hundreds of onlookers, and nearly half of the total number of law enforcement officers in Texas. Veteran character actor Ben Johnson is the lead lawman in this relatively slow-speed chase, occasionally punctuated by redneck sniper gunfire, who sympathizes with Hawn's and Atherton's plight but who also must still perform his duties. It all comes to a climax at Sugarland with a jarring result.

Although made for relatively little money (just three million, as opposed to the tens of millions Spielberg would spend on his films in ensuing decades), THE SUGARLAND EXPRESS was still only a modest box office hit. Part of that could be attributed to audiences' expectations of seeing Hawn in a frothy comedy following her turn on TV's "Laugh-In" and instead getting a real live actress with intensity. And part of it could also be attributed to the fact that this film's ending isn't exactly sweetness and light. Still, Hawn's performance here is arguably the best she ever gave on the big screen, and Atherton and Sachs do good turns. Equally reliable is Johnson, remembered for his Oscar-winning turn in Peter Bogdanovich's 1971 classic THE LAST PICTURE SHOW, but also as a familiar presence in the westerns of John Ford and Sam Peckinpah.

Filmed completely on location in Texas, THE SUGARLAND EXPRESS features great cinematography by Vilmos Zsigmond, taut editing from Verna Fields, and an excellent Americana score by John Williams (his first for Spielberg). It is a film that can be enjoyed many times over, as is the case for almost everything Spielberg has ever done.

"The Sugarland Express" received good critical reviews but flopped at the box office. Luckily, Spielberg had demonstrated his skill as a director with this film and the TV movie "Duel". Both earned him the chance to direct "Jaws" and the rest, as they say, is history. Based on a true story, Lou Jean Poplin (Goldie Hawn)convinces her husband Clovis (William Atherton from "Ghostbusters" and "Die Hard")to break out of a minimum security prison even thought he has only a couple of months to go. Their son is being taken away from her and being put into foster care. Lou Jean won't stand for this and she proposes that they kidnap their own son. In the process, the pair end up taking a Texas police officer (Michael Sacks "Slaughter House Five")hostage and are pursued by Texas lawmen led by Captain Tanner (Ben Johnson) across the state.

Steven Spielberg's first film gives evidence of his talent and skills as a film director. Although he would later be accused of creating the box office mania that "dumbed down" Summer films into "event films", Spielberg didn't create the popcorn movie genre. Like Hitchcock, Spielberg made many types of films and this, his second, was among his most ambitious early films in terms of scope, technique and themes. Based on a story that Spielberg concocted with screenwriters Hal Barwood and Matthew Robbins ("The Bingo Long Traveling All-Stars & Motor Kings", "Dragonslayer") from a true story a taunt, often funny and powerful road movie.

The strong performances and well written script gave Spielberg a springboard to dive into a pool of ambitious film techniques. Make no mistake, though, this film isn't just about technique and that's its saving grace. Otherwise, this could have degenerated into just another exploitation film. John Williams' score enhances the tension throughout the script. While Spielberg swimped a number of stunning set ups and ideas for shots from his favorite films here (as he did in "Duel"), he makes them his own by carefully integrating them into the story and adding his own little special quirks to them as well.

"The Sugarland Express" was long overdue for release on DVD. Unfortunately, unlike "Duel", this DVD transfer isn't quite as sharp looking. The colors appear a bit faded and the print is marred with many analog blemishes. It could just be the condition of the negative but, more than likely, these are artifacts that just weren't fixed at the transfer stage. The sound is decent although, again, much more could have been done with it to enhance the score by Williams and sound effects that swirl around the action in many sequences.

The film comes with only a photo gallery and original theatrical trailer. It's surprising that this film didn't get quite the deluxe treatment that "Duel" did for DVD. I'm disappointed that Spielberg chose not to do interview segments on this movie as he did for "Duel". In retrospect, I suppose I shouldn't be surprised that "The Sugarland Express" didn't get more attention. It flopped when first released (while "Duel" garnered huge ratings on TV)and hasn't gained the cult status of some of Spielberg's other less successful films (such as "1941" which has become something of a cult classic). Still, it's disappointing that Spielberg's first big screen film didn't receive the attention and respect it was due. It would be the same if "Citizen Kane" or Hitchcock's "Vertigo" were treated shabbily when they were brought out on DVD. While "The Sugarland Express" isn't as important as either one of those films, it has merit all its own and, given Spielberg's blossoming skill as a director later in life, it would seem appropriate to spend the time and money on making this minor classic look and sound its best.

Nevertheless, "The Sugarland Express" will capture your attention. From the sharp, strong performances by Hawn, Atherson, Sacks and Johnson to Spielberg's audacious ambitious shots and the rich, witty screenplay, "The Sugarland Express" becomes more than a rollercoaster ride. It also touches the heart with the tragedy at its core.

Thankfully we have a decent widescreen DVD of Spielberg's dazzling theatrical debut. It was a box office flop in 1974, probably because it didn't appeal to the `Easy Rider' set and because it makes satiric jabs at populist sentiment. Notably, its bittersweet ending poses sticky philosophical questions, distilled in the final, haunting line (I won't give it away here, you have to hear it for yourself). The hair raising finale presents the viewer with an odd Spielberg finish; who were the winners, who were the losers? And anyway, who in 1974 wanted Goldie in a superb but non-comic role? One of Spielberg's trademarks is tight visual and verbal economy. The opening shot alone makes ironic comments and transmits myriad detail, all within seconds. It's followed by one ingeniously inventive scene after another. A little slow to start, the action quickly gains momentum. Tension never stops building, spiked now and then by sudden moments of revelation and discovery. The acting is terrific (Spielberg uses local rubes better than any director around), and Ben Johnson's performance is one of unerring precision. HE steals the whole show. This was a most auspicious directorial debut and was a hit at Cannes (the well-honed script won first place). Spielberg knows how to get viewers involved and keep them there. As one who grew up down South I can testify that Spielberg captured the ambiance of the Texas countryside and people with gratifying authenticity. This is flawless work, among Spielberg's best. Hopefully this DVD will revive a film that has long deserved more attention. The DVD image is a bit soft in spots, and there's only a measly trailer for extras, but it's still a great ride for the money. Essential.

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