A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
In the '40s, three prisoners flee from a state prison farm in Mississippi. Among them is 23-years-young Bowie, who spent the last seven years in prison and now hopes to be able to prove his innocence or retire to a home in the mountains and live in peace together with his new love, Keechie. But his criminal companions persuade him to participate in several heists, and soon the police believe him to be their leader and go after "Bowie the Kid" harder than ever.Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
This film was based, in part, on the criminal exploits of Clyde Barrow and Bonnie Parker. See more »
The new Cadillac is seen to be covered with a tarpaulin. When the camera swings back to it, the tarpaulin has vanished. See more »
You said you weren't here when the pipes bust. Where were you?
[Keechie gives no response]
I asked you where you were!
Seein' a doctor.
The baby we're gonna have.
Well, that's just fine. That's all I need!
You don't see me knittin' anything, do you?
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Opening credits: This boy . . . and this girl . . . were never properly introduced to the world we live in . . . To tell their story . . . See more »
An earlier, and just as involving, version of Thieves Like Us
Nicholas Ray's first feature, in 1949, was an adaptation of the novel Thieves Like Us (which Robert Altman so memorably filmed in the mid-1970s). It's a bit of a surprise to encounter the same characters -- Bowie, Keechie, T-Dub et al. -- in postwar black-and-white. Farley Granger and Cathy O'Donnell play the star-crossed lovers later rended by Keith Carradine and Shelly Duvall, and they bring a vulnerable, doomed edge to this very interesting, tragic movie. (Granger may never have been better during his brief bout of stardom). The supporting cast isn't quite up to the level of Altman's (without Louise Fletcher and her odd little girl), but on the whole this remains an honorable and moving piece of film art -- and a vital instalment, along with the same year's Gun Crazy (also a tale of doomed, romantic outlaws), in the noir cycle.
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