Synopsis
It takes two to make it … The big two.
A recently released ex-convict and his loyal wife go on the run after a heist goes wrong.
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The Getaway
Cast
Steve McQueen Ali MacGraw Ben Johnson Sally Struthers Al Lettieri Slim Pickens Richard Bright Jack Dodson Dub Taylor Bo Hopkins Roy Jenson John Bryson Bill Hart Tom Runyon Whitney Jones Raymond King Ivan Thomas C.W. White Brenda W. King W. Dee Kutach Brick Lowry Martin Colley O.S. Savage Dick Crockett A.L. Camp Bob Veal Bruce Bissonette Maggie Gonzalez Jim Kannon Show All…
Director
Producers
Writer
Original Writer
Casting
Editor
Cinematography
Assistant Director
Executive Producers
Art Direction
Set Decoration
Special Effects
Stunts
Composers
Sound
Makeup
Studios
Country
Primary Language
Spoken Languages
Alternative Titles
The Getaway - Ihre Chance ist gleich null, Побег, Guet-Apens, La fuga, Ein Mann explodiert, Getaway - Eine knallharte Gangster-Story, Le guet-apens, Tiro de Escape, Getaway!, Guet-apens, La huida, Getaway, 亡命大煞星, A szökés, Getaway - rymmarna, Útěk, Ήταν δυο φυγάδες, הבריחה, Os Implacáveis, ゲッタウェイ, La fugida, Sonsuz Kaçış, Pakotie, 겟어웨이, Втеча, Ucieczka Gangstera, La huída, گریز, Vild flugt
Genres
Themes
Releases by Date
Theatrical
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USAPG
18 Dec 1972
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UK18
01 Jan 1973
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Brazil14 anos
25 Jan 1973
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France12
16 Mar 1973
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Japan
19 Mar 1973
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Denmark15
24 Apr 1973
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PortugalM/16
04 May 1973
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Germany12
20 Sep 1973
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Netherlands16
14 Dec 1973
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Spain16
Physical
01 May 1992
- Czechoslovakia
06 Dec 1998
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Germany
01 Feb 1999
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Netherlands6
10 Aug 2005
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Netherlands6
TV
14 Nov 2004
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Netherlands6
Releases by Country
Brazil
01 Jan 1973
- Theatrical14 anos
Czechoslovakia
01 May 1992
- Physical
Denmark
19 Mar 1973
- Theatrical15
France
25 Jan 1973
- Theatrical12
Germany
04 May 1973
- Theatrical12 West Germany
06 Dec 1998
- Physical
Japan
16 Mar 1973
- Theatrical
Netherlands
20 Sep 1973
- Theatrical16 original rating: 18
01 Feb 1999
- Physical6 DVD
14 Nov 2004
- TV6 Veronica
10 Aug 2005
- Physical6 Blu ray
Portugal
24 Apr 1973
- TheatricalM/16
Spain
14 Dec 1973
- Theatrical16
UK
18 Dec 1972
- Theatrical18
USA
13 Dec 1972
- TheatricalPG
Popular reviews
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Never thought I’d say this about a Peckinpah movie but…that was really nice? Like yeah full of really ugly stuff and bloody violence but also kinda nice!
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You can take Steve out of the car swerving through a crowded street and into a ball of fire, but you can’t take the car swerving through a crowded street and into a ball of fire out of Steve.
Originally supposed to be directed by Peter Bogdanovich (lol what a different movie that would’ve been), The Getaway is what happens when Sam Peckinpah takes a stone cold script by man-on-the-run expert Walter Hill, adds in all of his usual stereotypes (violence, sexism, masculine rage), and taps Steve McQueen to lead the charge. It’s a pure metal story about a career criminal hired to rob a bank as his farewell job who then finds himself chased by cops and criminals alike…
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78
Sam Peckinpah's work is tremendous here, as usual, but Walter Hill's screenplay surprised me the most. Not a stone unturned, with twists and turns and brutal moments that further develop the complexity of these characters. It's riveting throughout. Steve McQueen, Ali MacGraw, and Al Lettieri make up a fantastic cast, and Slim Pickens gives his all with just five minutes left on the clock. Quality cinema, through and through, with a hotel shootout that is typical Peckinpah poetic carnage.
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![nathaxnne [hiatus]](https://a.ltrbxd.com/resized/avatar/upload/1/9/5/2/4/3/shard/avtr-0-80-0-80-crop.jpg?v=2d9f35eba8)
The Getaway is a greasy, sociopathic Texas Noir based upon a Jim Thompson novel, scripted by Walter Hill and directed by Sam Peckinpah, starring Steve McQueen and Ali McGraw as criminals on the lam from other, more powerful criminals. Those are the most important things to know about The Getaway. Lesserly important things to know or to ask oneself is: how badly do you want to see Steve McQueen set a police car on fire by repeatedly emptying shotgun blasts into it in slow motion? Do you want to know if therapy kittens quicken healing of broken bones? The answer to that is yes and yes, kittens do. It is also to know that although it is as dark and…
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“The Getaway” is Sam Peckinpah’s slickest piece of cinema output. Somehow, the sheen makes it even more disconcerting than even his most outwardly aggressive works.
“Getaway,” about a talented bank robber that bargains his freedom from prison for the price of leading one last job, is distinguishable for being an actor’s - rather than a director’s- cut.
Through a deal with studio heads, star Steve McQueen surprised even Peckinpah with a post-production revelation that he had rights to final edit over “Getaway.” Final - even past the reach of the work’s director.
Needless to say, this didn’t make the increasingly alcoholic auteur too happy. Even though, according to accounts, it was actually McQueen who at one point hurled a champagne…
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there’s a moment towards the beginning of the film when mcqueen’s doc gets out of prison that i haven’t stopped thinking about. doc’s wife, carol, picks him up and the first thing he tells her is that he wants to go for a walk. eventually they arrive at natural public swimming area. doc, wearing a full three piece suit, gets out of the car and stops as he watches the people swimming and having fun. then it cuts to a shot of doc rope swinging into the water (it’s important to note that in the shot he is wearing dress pants and a white button up shirt.) peckinpah cuts back to doc standing on the hill and he’s smiling. then…
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People have been known to criticize Peckinpah for his indulgence in violence, but my issue with his work is his overuse of frolicking. There's an awful lot of it in his films. And currently I'm not doing much of it myself (all the reasonably-priced lady professionals having been transferred to Miami as a precaution due to storms out of the eastern Atlantic), which just makes it worse.
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"My old lady must've made you a lot of promises."
Without a doubt the most interesting editing and soundtrack decisions in a heist/car chase movie. The editing is frantic and jumpy, and it controls the tension of the film wonderfully, but there's also an atemporality to it that gives us insight into the characters' emotions in a unique and slightly unsettling way. The score integrates wild west elements to make McQueen and MacGraw feel like outlaws on the run, but it's also quite wonky and a bit distracting.
The two central performances are lovely, and their fraught relationship is at the core of the narrative, which makes the action more meaningful and gives everything a bit of weight. I had…
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A bank heist turns into a fail,
With bad guys hot on the trail.
The escape is great,
But may be too late,
As Steve McQueen will always prevail. -
the prototypical michael mann film, birthed by a collision between peckinpah's melancholic chaos and walter hill's two-fisted stoicism. jaded convicts, meticulous planning, heists fucked-up by trigger-happy cowboys, everyone's real slick until shit hits the fan, then it's just a matter of damage control. the screenplay opens up with a quote by, inevitably, hemingway, which tells you all that's necessary about the getaway's minimalist-masculine spirit. peckinpah and hill would create better, more complex movies, but this is an essential component in both their careers.
(also something i've noticed on this watch: peckinpah just loves having his male characters be constantly cuckolded? good for him? i guess?)
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If Bonnie & Clyde was a happy story!
Few directors can manage to start a film without saying almost anything, and yet so much with so little, and as we are immersed inside Sam Peckinpah's insane mind, you see between his frantic cuts, long pauses and meticulous slow motion an almost sensory study of the imagery around the human and its inner essence. Is yet the same again, and greatly so here in The Getaway, we are introduced to Doc McCoy a Steve McQueen who screams death and violence just by his looks.
As we accompany him on his little routine inside the penitentiary while he longs to be able to appeal for a conditional sentence that is always denied him,…
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