Customer Reviews

Thelma & Louise

5 star:		(60)
4 star:		(12)
3 star:		(2)
2 star:		(2)
1 star:		(7)

 

 

"BOOM!!" Under fire from Thelma and Louise's guns, the tongue-wagging truck-driver's pride and joy (and extension of his manhood) goes up in flames. Incredulous, its owner stares at the spectacle and lets off a pitifully helpless and, in its helplessness, hilariously comical tirade against the two female outlaws; whose only reason not to shoot him, too, at this point is that it is so utterly more poignant to let him sit all alone by the road side in the vastness of the Southwest, robbed of all attributes of male potency and left to the pity of whoever is eventually going to pick him up and give him a ride back to civilization.

By the time of this incident, Thelma has mutated from a subdued and insecure housewife to a self-assured, fearless queen of the highway. ("Something has crossed over" in her, she tells Louise shortly before their final encounter with their truck-driving nemesis.) Louise in turn, who had taken the lead early on in their flight from the police, has overcome her intermittent bout of despair and is back to her old self, too. Now wanted not only for questioning in connection with the death of the rapist shot by Louise but also for armed robbery in another state, knowing that being questioned by the police will inevitably add a charge of murder for the incident which set off their run (and probably also knowing deep down inside that there is not going to be a happy ending to their weekend trip anyway), Thelma and Louise have stopped to care what is going to happen next. Thus emboldened, they make a last great run for it, which ultimately leads them to the vast, endlessly deep gorges of the Grand Canyon.

"Thelma and Louise" is all and none of the things as which it has been described. It is about the friendship between two women, about female independence and male sexism, but it is neither a simple "chick flick" nor a monument to feminism (although I have to admit that watching it can have an almost therapeutic effect when you've just about "had it" again with the male slightly-less-than-half of society). Most of the men that Thelma and Louise encounter are two-dimensional cartoon characters, but "Reservoir Dogs" and perpetual tough guys Harvey Keitel and Michael Madsen (of all people) are cast against stereotype. The movie also features some absolutely stunning pictures of the Southwestern scenery and mostly takes place on the road, but it is not just a "road movie" (feminist or otherwise). More than anything, this is a movie about the things that shape the way we are, and about the consequences of our actions. Had Thelma learned to use her brain before and not after their encounter with Harlan the rapist, she would have seen him for what he was and avoided him from the start. Had Louise not been raped herself, she would probably not have shot Harlan at being provoked by him, after the self-defense situation was already over. Impulse? Fate? Justifiable homicide? Hardly. Thoroughly understandable? Absolutely, at least from a woman's point of view.

It takes two extraordinary lead actresses to carry the movie's theme, and Susan Sarandon and Geena Davis are the perfect embodiment of the characters they portray. Next to them, not even Keitel and Madsen really shine (although this may be in part due to the thankless parts they play); only Brad Pitt, in the role that made him an overnight star, briefly gets to sparkle. Callie Khourie was a deserving winner of the 1991 Academy Award and Golden Globe for Best Original Screenplay, and both Sarandon and Davis would have been equally deserving of the Best Leading Actress awards. So would have Ridley Scott for Directing, Adrian Biddle for Cinematography, Thom Noble for Editing and the movie itself, for Best Drama -- in a year that produced many extraordinary films, it might have been more just to split some of the awards among several contenders, and despite the strong competition ("Bugsy," "Silence of the Lambs," "Prince of Tides," "The Fisher King," "Grand Canyon" and "Fried Green Tomatoes," to name just a few), it seems sadly underrated for a movie that has long since become a cult classic to only have won one of the awards it was nominated for, both on Oscar Night and at the Golden Globes.

"BOOM!!" Under fire from Thelma and Louise's guns, the tongue-wagging truck-driver's pride and joy (and extension of his manhood) goes up in flames. Incredulous, its owner stares at the spectacle and lets off a pitifully helpless and, in its helplessness, hilariously comical tirade against the two female outlaws; whose only reason not to shoot him, too, at this point is that it is so utterly more poignant to let him sit all alone by the road side in the vastness of the Southwest, robbed of all attributes of male potency and left to the pity of whoever is eventually going to pick him up and give him a ride back to civilization.

By the time of this incident, Thelma has mutated from a subdued and insecure housewife to a self-assured, fearless queen of the highway. ("Something has crossed over" in her, she tells Louise shortly before their final encounter with their truck-driving nemesis.) Louise in turn, who had taken the lead early on in their flight from the police, has overcome her intermittent bout of despair and is back to her old self, too. Now wanted not only for questioning in connection with the death of the rapist shot by Louise but also for armed robbery in another state, knowing that being questioned by the police will inevitably add a charge of murder for the incident which set off their run (and probably also knowing deep down inside that there is not going to be a happy ending to their weekend trip anyway), Thelma and Louise have stopped to care what is going to happen next. Thus emboldened, they make a last great run for it, which ultimately leads them to the vast, endlessly deep gorges of the Grand Canyon.

"Thelma and Louise" is all and none of the things as which it has been described. It is about the friendship between two women, about female independence and male sexism, but it is neither a simple "chick flick" nor a monument to feminism (although I have to admit that watching it can have an almost therapeutic effect when you've just about "had it" again with the male slightly-less-than-half of society). Most of the men that Thelma and Louise encounter are two-dimensional cartoon characters, but "Reservoir Dogs" and perpetual tough guys Harvey Keitel and Michael Madsen (of all people) are cast against stereotype. The movie also features some absolutely stunning pictures of the Southwestern scenery and mostly takes place on the road, but it is not just a "road movie" (feminist or otherwise). More than anything, this is a movie about the things that shape the way we are, and about the consequences of our actions. Had Thelma learned to use her brain before and not after their encounter with Harlan the rapist, she would have seen him for what he was and avoided him from the start. Had Louise not been raped herself, she would probably not have shot Harlan at being provoked by him, after the self-defense situation was already over. Impulse? Fate? Justifiable homicide? Hardly. Thoroughly understandable? Absolutely, at least from a woman's point of view.

It takes two extraordinary lead actresses to carry the movie's theme, and Susan Sarandon and Geena Davis are the perfect embodiment of the characters they portray. Next to them, not even Keitel and Madsen really shine (although this may be in part due to the thankless parts they play); only Brad Pitt, in the role that made him an overnight star, briefly gets to sparkle. Callie Khourie was a deserving winner of the 1991 Academy Award and Golden Globe for Best Original Screenplay, and both Sarandon and Davis would have been equally deserving of the Best Leading Actress awards. So would have Ridley Scott for Directing, Adrian Biddle for Cinematography, Thom Noble for Editing and the movie itself, for Best Drama -- in a year that produced many extraordinary films, it might have been more just to split some of the awards among several contenders, and despite the strong competition ("Bugsy," "Silence of the Lambs," "Prince of Tides," "The Fisher King," "Grand Canyon" and "Fried Green Tomatoes," to name just a few), it seems sadly underrated for a movie that has long since become a cult classic to only have won one of the awards it was nominated for, both on Oscar Night and at the Golden Globes.

I adore these 2 women & to put them in the same movie is more than I can ask for! I have seen this movie over 50 times & still enjoy it every time! Buy it, rent it... do whatever it takes but you have to see this movie.

"BOOM!!" Under fire from Thelma and Louise's guns, the tongue-wagging truck-driver's pride and joy (and extension of his manhood) goes up in flames. Incredulous, its owner stares at the spectacle and lets off a pitifully helpless and, in its helplessness, hilariously comical tirade against the two female outlaws; whose only reason not to shoot him, too, at this point is that it is so utterly more poignant to let him sit all alone by the road side in the vastness of the Southwest, robbed of all attributes of male potency and left to the pity of whoever is eventually going to pick him up and give him a ride back to civilization.

By the time of this incident, Thelma has mutated from a subdued and insecure housewife to a self-assured, fearless queen of the highway. ("Something has crossed over" in her, she tells Louise shortly before their final encounter with their truck-driving nemesis.) Louise in turn, who had taken the lead early on in their flight from the police, has overcome her intermittent bout of despair and is back to her old self, too. Now wanted not only for questioning in connection with the death of the rapist shot by Louise but also for armed robbery in another state, knowing that being questioned by the police will inevitably add a charge of murder for the incident which set off their run (and probably also knowing deep down inside that there is not going to be a happy ending to their weekend trip anyway), Thelma and Louise have stopped to care what is going to happen next. Thus emboldened, they make a last great run for it, which ultimately leads them to the vast, endlessly deep gorges of the Grand Canyon.

"Thelma and Louise" is all and none of the things as which it has been described. It is about the friendship between two women, about female independence and male sexism, but it is neither a simple "chick flick" nor a monument to feminism (although I have to admit that watching it can have an almost therapeutic effect when you've just about "had it" again with the male slightly-less-than-half of society). Most of the men that Thelma and Louise encounter are two-dimensional cartoon characters, but "Reservoir Dogs" and perpetual tough guys Harvey Keitel and Michael Madsen (of all people) are cast against stereotype. The movie also features some absolutely stunning pictures of the Southwestern scenery and mostly takes place on the road, but it is not just a "road movie" (feminist or otherwise). More than anything, this is a movie about the things that shape the way we are, and about the consequences of our actions. Had Thelma learned to use her brain before and not after their encounter with Harlan the rapist, she would have seen him for what he was and avoided him from the start. Had Louise not been raped herself, she would probably not have shot Harlan at being provoked by him, after the self-defense situation was already over. Impulse? Fate? Justifiable homicide? Hardly. Thoroughly understandable? Absolutely, at least from a woman's point of view.

It takes two extraordinary lead actresses to carry the movie's theme, and Susan Sarandon and Geena Davis are the perfect embodiment of the characters they portray. Next to them, not even Keitel and Madsen really shine (although this may be in part due to the thankless parts they play); only Brad Pitt, in the role that made him an overnight star, briefly gets to sparkle. Callie Khourie was a deserving winner of the 1991 Academy Award and Golden Globe for Best Original Screenplay, and both Sarandon and Davis would have been equally deserving of the Best Leading Actress awards. So would have Ridley Scott for Directing, Adrian Biddle for Cinematography, Thom Noble for Editing and the movie itself, for Best Drama -- in a year that produced many extraordinary films, it might have been more just to split some of the awards among several contenders, and despite the strong competition ("Bugsy," "Silence of the Lambs," "Prince of Tides," "The Fisher King," "Grand Canyon" and "Fried Green Tomatoes," to name just a few), it seems sadly underrated for a movie that has long since become a cult classic to only have won one of the awards it was nominated for, both on Oscar Night and at the Golden Globes.

Originality is the supreme adjective for this picture. It won deservedly the Academy Award as Original script. Ridley Scott made an authentical road movie but loaded with humor , cynicism , haunting and above all very anti macho movie.
The sinister fact that will turn a twist of fate in these two women who only wanted to have fun just for a while will become in a permanent and menacing nightmare for both of them .
The spectacular landscapes are a huge background all the way reminds us Paris Texas . The use of big lenses and the arresting images walks together with a solid script .
Brad Pitt appears briefly as the hitch hike guy who eventually seduces Thelma . Susan Sarandon and Geena Davis are the mirror images of Sundance Kid , you may consider it a speculation, but think it carefully . Since the accidental murder , and the sweet smell of the risk when Geena robes a supermarket , the dramatic car chase is very close in spirit to the sudamerican getaway and above all the ending sequence .
Keitel works efficiently , once more and Scott shows us once more why he's on the top direction .
Consider this one from its release as one of the most powerful nineties cult movies!

This is definately Ridley Scott's best film to date. Thema and Louise may be one of the most popular chick flicks, but you do not have to be a woman to like it. This film is the absolute perfect movie to watch with your best friend. The way that Susan Sarandon and Geena Davis take you into the lives of these two friends is amazing. On their jouney they encounter lots of characters including a perverted truck driver, and a young drifter played by Brad Pitt. The movie all in all is good, and I would definately give it two thumbs way way up.

Road to Empowerment
Thelma & Louise inspired a wide range of criticism after its debut in 1991.
Brenda Cooper cites numerous reviews in her article "'Chick Flicks' as Feminist Texts: The Appropriation of the Male gaze in Thelma & Louise:" Sheila Benson's review represents one side when she accuses the film of being no more than "'bloody, sadistic or explosive revenge for the evils men do,' and ask[s] her readers: 'Are we so starved for "strong" women's roles that this revenge, and the pell-mell, lunatic flight that follows, fits anyone's definition of strength, or even more peculiarly, of neo-feminism?'" (par. 2). Cooper counters, "the film's alternative cinematic gazes that challenge and resist patriarchal construction [...] result [in] a subversive narrative that effectively negates complaints that Thelma (Geena Davis) and Louise's (Susan Sarandon) freedom is self-destructive and that male dominance is reaffirmed in screenwriter Callie Khouri's controversial screenplay" (par. 6). Although some critics have condemned the movie for its negative portrayal of women, in truth, Thelma & Louise is the story of two women's road to empowerment.
The opposition claims that the movie portrays women negatively because Thelma and Louise do not make sound decisions. The film does not require the audience to deny its personal values, but to consider the circumstances and reasoning behind Thelma and Louise's decisions. Cindy Griffin cities that, "The film also offers a vehicle for discussion on why Thelma and Louise behave the way they do and serves as a tool for educating individuals about the obstacles and oppression women face" (par. 19). Though the plot is plausible, it puts both the characters and the audience in the middle of extraordinary circumstances and requires them to react with what they have learned from life experience. The audience and characters react with totally different intentions and capabilities.
Thelma and Louise's choices prove quite logical considering the circumstances and their life experience. Thelma is the product of her lack of experience. Her life since high school has consisted of waiting on her abusive husband, Daryl (Christopher McDonald). Her naivety and need for affection and adventure stemming from her lack of life experience and loveless marriage are evident in her behavior with Harlan (Timothy Carhart) and J.D. (Brad Pitt). She enjoys the attention she receives from both Harlan and J.D. She does not expect anything bad to come of it. Her lack of experience is also evident in her lack of self-confidence. She doesn't know what to do after the shooting. When Louise refuses to go to the police, Thelma concedes like she does every day with her husband. She does not have the confidence to insist that she is right in any relationship.
Louise is in the same situation with different past experiences to draw upon. Louise is a few years older than Thelma, independent, and self-sufficient. She is painfully aware of the world and its dangers, and she rescues Thelma before she becomes a victim. Louise reacts from fear and pain, the source of which the audience does not learn until later. Fortunately, most women do not find themselves in this situation, but it represents reality for some.
Many of the seemingly erroneous decisions Thelma and Louise make result from the circumstances in which they find themselves. Jack Boozer states that the film "highlight[s] the larger social forces that drive [its] heroes to desperate acts" (par.10).
The Texas warrant for Louise's arrest and her mistrust of the legal system prevent her from going to the police. The theft of all their money prompts Thelma to rob the store. Their previous illegal acts and mistrust of the legal system require them to do whatever is necessary to escape. They trap a police officer in his trunk when he pulls them over for speeding. They blow up the semi simply because they have had enough. They will not passively put up with any more abuse from the vulgar driver or anyone else. Their suicide extends this same procurement of power. Their current situation provides only two choices: turn themselves in to the male dominated legal system that they both mistrust or choose the alternative to "keep on goin!"
The opposition also claims that Thelma and Louise's immoral behavior should not represent contemporary women. Again, however uncommon, these life situations do exist in real life. However immoral, Thelma and Louise are not amoral. Boozer states, "Thelma and Louise are disinclined to rob banks or trains as a calculated lifestyle. They are neither accomplices to nor promoters of male violence, much less neo femmes noir who seek financial advantage from it" (par. 8). They struggle morally with their actions and question whether or not they are doing the right thing. "They constantly articulate and interrogate their impulses, repeatedly checking by phone [by calling Hal (Harvey Keitel] to clarify their status" (par. 17).
Thelma and Louise's actions throughout the movie confirm their conscience. In the beginning, the shooting obviously affects them. Louise and Thelma's shock exemplifies the physical effects of the event. Thelma nearly swerves into a semi as they pull onto the highway, and Louise has to stop by the side of the road to vomit. "Force is neither liberating nor laughable for Louise, however, who continues to be traumatized rather than inspired or transfigured after the shooting," Boozer writes. "Violence does have repercussions in this film, as much from the degrading word or sign as from the deed" (par. 25).
Later in the film, Thelma and Louise express their consideration for others as well as each other. Louise prevents Jimmy's (Michael Madsen) culpability in the shooting by refusing to tell him what happened. She later confesses to Thelma: "I think I fucked up. I think I got us in a situation where we both could get killed." Thelma assures her that they had no other choice. Louise reciprocates later when Thelma takes the blame for their situation by telling her, "If there's one thing you should now by now, this was not your fault!"
Finally, the opposition claims that Thelma and Louise's behavior fuels the stereotype that women are weak, irrational, and impulsive, and the ending renders male dominance the victor. On the contrary, Thelma and Louise may not make decisions that the audience considers correct, and their actions may be in response to the situation they find themselves in; but they make conscious choices and are not dissuaded from their chosen course. Boozer writes that the film emphasizes "their shared determination to regain control of their private destinies" (par. 14). Louise makes her decision not to go to the police and adheres to it even after Jimmy's proposal. Cooper quotes Mann, writing that Thelma not only "gain[s] sexual liberation in her relationship with J.D.; she also gains the opportunity to play out his life story, to adopt a dominant male role when she performs her gun waving bandit act which J.D. taught her" (par. 37).
The ending creates the most controversy, and critics claim that the suicide proves the failure of Thelma & Louise to convey a feminist message. Cooper writes, "Some would argue that [...] [in] the suicide ending [...] the women are 'punished' for their resistance, and masculine control is reaffirmed" (par. 49). Actually, the suicide ending affirms their newfound control over their own lives. McHugh writes, "the film points [...] to male aggression, economic limitations, and the constraints of their respective feminine roles (wife and waitress) as their motivation to 'keep on goin'" (par. 21). Cooper adds, "[...] Thelma and Louise's decision to die together can be read as the final stage in feminist consciousness-positive action for change-both personally and societally [sic]" (par. 49).
In conclusion, despite criticism that Thelma & Louise negatively depicts its female protagonists as either victims or criminals, the positive example of two women choosing conscious action rather than passivity is undeniable. Thelma and Louise transform completely during the film, which substantiates their strength. Cooper cites, "it is precisely this change from 'dependence on men to female independence' that transforms the film's narratives into an 'inner journey into feminist self-awareness,' as spectators watch Thelma and Louise become 'self-reliant and heroic rather than helpless and scared'" (par. 54). Thelma and Louise realized their potential on their road to empowerment.

Works Cited
Boozer, Jack. "Seduction and Betrayal In the Heartland: Thelma and Louise."
Literature/Film Quarterly 23.3 (1995): 35 pars. Humanities Abstracts. First Search. Northern Illinois University Libraries, DeKalb, IL. 22 March 2004 <http://www.niulib.niu.edu>.
Cooper, Brenda. "'Chick Flicks' as Feminist Texts: The Appropriation of the Male Gaze
in Thelma & Louise." Women's Studies in Communication 23.3 (Fall 2000): 60 pars. Humanities Abstracts. First Search. Northern Illinois University Libraries, DeKalb, IL. 22 March 2004 <http://www.niulib.niu.edu>.
Griffin, Cindy. "Teaching rhetorical criticism with Thelma and Louise."
Communication Education 44.2 (April 1995): 31 pars. Humanities Abstracts. First Search. Northern Illinois University Libraries, DeKalb, IL. 22 March 2004 <http://www.niulib.niu.edu>.
McHugh, Kathleen. "Women in traffic: L.A. autobiography." South Atlantic Quarterly
97.2 (Spring 1998): 33 pars. Humanities Abstracts. First Search. Northern Illinois University Libraries, DeKalb, IL. 22 March 2004 <http://www.niulib.niu.edu>.
Thelma & Louise. Dir. Ridley Scott. Perf. Susan Sarandon, Geena Davis, Harvey
Keitel, Michael Madsen, Christopher McDonald, Stephen Toboluwsky, Brad Pitt,
and Timothy Carhart. MGM, 1991.

I saw an interview with Susan Sarandon, and she said that "Thelma and Louise isn't about feminism, it's about human liberation." I completely agree.

If you put the sexual politics aside, what you have is a story of two human beings who have spent their whole lives being oppressed and controlled by other people. Louise (Sarandon) is a waitress with a tragic past and an unreliable boyfriend. Thelma is a housewife with an arrogant, controlling husband. The two decide to embark on an impromptu vacation, but while stopping for a couple of drinks at a redneck nightclub, Thelma is almost raped by a lecherous customer, and Louise shoots and kills him in the parking lot. Instead of going to the police, the two decide to skip the country and head to Mexico, but a string of unfortunate events forces the two to commit even more crimes, turning them into bona fide fugitives and outlaws.

Strangely, what the two characters discover is that their new lives as outlaws are more satisfying than the stifled lives they led before. At the end of the film, the two make a choice to remain free and never surrender, despite the consequences.

This film asks the question: is the only way to be free in our society to be an outlaw? The answer just might be yes.

"Thelma And Louise" is one of the most memorable and one of the best films of 1991. This Oscar-winning film takes audiences on a journey into a road trip that takes an unplanned turn. Once Thelma (Geena Davis) has a close encounter with a rapist, their lives change forever. After Louise (Susan Sarandon) kills the rapist, the action starts and never stops until the film's end. The plot was written brilliantly. They combine comedy, drama, and action wonderfully. Their run from the law offers audiences many twists and turns as they encounter unpleasant visiters. The intensity keeps audiences guessing their next move in every scene. Only one other fugitive film comes close to the quality of "Thelma And Louise": "Bonnie And Clyde". However, no other film released before, during, and after matches the uniqueness. Geena Davis and Susan Sarandon add their own sense of theme in their Oscar-nominated roles for Best Actress. Their words and emotions are flawless from their Texas accent to their intense life struggles. All other actors perform their roles beautifully, including the then-unknown Brad Pitt. "Thelma And Louise" is a great film for those looking for a great action drama. This unforgettable experience is sure to continue pleasing audience for many more years.

the special edition dvd from mgm is great, a lot of work has gone into it and it shows! the movie itself is just as amazing nowadays as it was back in 1991 and the screenplay continues to be a landmark, insofar as it was the main movie we studied at screenwriting class when i took film at university.

there are two commentary tracks on the dvd, one with ridley scott which is very informative regarding the technical side of directing the movie (and even talks a lot about his previous movies, especially blade runner), and the second track features susan sarandon and geena davis together with screenwriter callie khouri. this track is a combination of the three sitting together and monologues of the three regarding their aspect in the filmmaking process. khouri does go on and on about her script (deservedly so) though the real jem here is geena davis who is just so funny to listen to, it's like watching the movie together with her, and her chemistry with sarandon is great.

the deleted scenes are great fun to watch though inconsequential to the plot (therefore they were deleted) and the famous alternate ending which we've all heard so much about is finally presented in all its glory, though safe to say scott made the right decision by choosing the ending in the film itself. scott also has a commentary for the 3.5 minute long alternate ending.

the documentary is thorough and is extremely well produced (especially the way it introduces the brad pitt section, who made his film début on thelma & louise) and the music video for the forgettable theme by glenn frey is also present, as well as a storyboard for the final chase scene, which is about as exciting as storyboards get (they're not). there are also a few (horrible) trailers for the movie and a look into how the movie was marketed back in the day, really interesting actually.

ridley is a great director and this is another in his long run of fabulous movies (i ever like 'legend' a lot!) and the dvd is a top-notch production from mgm! it's a flipper with the movie on one side of the dvd and most of the extras on the other side, a great mgm idea that's more practical than 2-dvd sets. highly recommended! now all that's left to do is release a cd of the entire amazing film score by hans zimmer.