Thelma & Louise (1991)

Thelma and Louise unashamedly purports to do for women what Easy Rider did for men. It is the traditional buddy-road movie but with a startlingly fresh twist. It follows the story of two best friends who go on a road trip to get away from their oppressive lives , but after one is nearly raped and the would-be rapist is shot by the other, they become fugitives from the law and look for a way out.

One of the first thoughts after viewing this excellent film is the similarities it has to genre defying pictures like the aforementioned Easy Rider and Bonnie and Clyde. It is a journey of self discovery intertwined with a tale of unlikely fugitives who discover their full potential when they are allowed to be free. Unsurprisingly, this film is much beloved by feminists but this is no insult; in its own right this is an exceptional film, filled with great acting, directing and a score that exudes swagger from Hans Zimmer. To start with the direction, it is so refreshing to see a Ridley Scott film back when he was at the height of his powers. It is shot, framed and staged with constant innovation, something which he now seems to have completely forgotten how to do. The real masterstroke in Scott's work here is his persistence in positioning the women exactly as they would be throughout the film. It opens with Geena Davis' Thelma confined to the role of a bored housewife by her misogynist husband having a chat over the phone with her best friend Louise, who is also oppressed but not by a husband, but by being a waitress in a busy restaurant where although she is not directly discriminated against, she still is forced to enact a certain persona of the single, working woman. Scott has already done all the setting up of his characters that he needs to. This marvelous introduction to the characters rivals the subtle nuances present in the wedding at the beginning of The Godfather: we understand their motivations, their backstory, their entire lives in fact without any clunky exposition needed. If only Prometheus could have the same depth of character which this film possesses.

The acting is also key and both Sarandon and Davis completely embody their roles. This was in a time where both Davis and Sarandond were on top form. Particular praise must go to Sarandon who produced some her best work here when at the time, Hollywood was trying to phase her out due to her advancing years. They have instant and lasting chemistry, which more than anything makes their actions completely understandable and relatable as the story progresses. Supporting them are Harvey Keitel as the caring cop who wants to protect them, Michael Madsen as Louise' lover who loves her and wants to start a life with her, and Brad Pitt as a hitchhiker with hidden agendas. All three are utterly compelling in their roles, particularly Pitt who does not even have much screen time yet his is arguably the most memorable performance of the film. For all those who still believe that Brad Pitt only ever plays himself, this film is more than enough evidence that even when he was starting in Hollywood, he was more than just a pretty face and a set of abs.

Perhaps most impressive with this film is its ability to say all that it wants to about mens' subjugation of women but without ever trying to shove it into your face that all men are misogynist pigs. It was refreshing to see a film made for women which did not do this, which unfortunately Hollywood seems to have lost the ability to do. This film remains the best and one of the only pro-feminism social commentary's that Hollywood has produced. This is reflected in the awards this received and the overall positive critical reception it still gets to this day. However, that is maybe the saddest thing about this film: it promised the start of the female renaissance on film but it ended up being a mere flash in the pan, with women still unfortunately waiting for what the 60's was for men on film.

Verdict

A true classic which deserves every bit of the acclaim it receives and more. Also, it has one of the bravest endings in all of cinema history.