Bad-boy Sam Elliott sweet-talks the sheriff's unappreciated wife into helping him escape from jail. Their resulting flight across desert country tends to be slow-moving and without any points of great interest but the open scenery effectively accentuates the isolation of the two individuals and Vera Miles as the wife gives the film a touch of depth as an older woman who -- unloved at home -- falls for the manipulations of a younger man. The studios just saw Sam Elliott as a hunk of hairy "beefcake" at this point so he's required to do little more than look good when he strips to the waist, something he does with pleasing regularity. Suggested alternate title: "Molly and Shirtless John." (Alas, both VHS and DVD editions of this movie are of second-rate visual quality.)
13 Reviews
Took a while, but she finally growd up.
tonopah618 February 2004
Warning: Spoilers
(Contains spoilers!) . . . And I only gave this a 5 out of 10. Molly was really in a dull and depressing marriage, and then John came along, (though be it as a prisoner), and influenced her into helping him to escape. The power of his lie was that she'd go with him and they'd raise a family, so she complied since she wanted a baby; along with wanting a fulfillment of sexual desires and someone who'd talk to her with true caring. John wasn't that man; he just used her weakness to get away. So during their travel, Molly learned about the real John; and, learned about survival, along with other sufferings. In result, she actually begins functioning in a basic naturalness, because, after she and John had been captured by Indians--during their escape, she kills an elderly Indian woman in order to keep a baby that she had delivered from a previous campsite: a baby for an Indian squaw who had wondered into their site, and had died upon delivery. She had a start of what she wanted, but John didn't; he wanted his favorite woman, (a whore from a town they came upon), and to be totally free of the nitwit Molly. But circumstances called for maintaining Molly further, which unfortunately was his ultimate demise, because more nitwit decisions where made: centering foremost was her need to have the baby baptized. At the church she signed John and herself to be the parents and the minister recognized the names--a posse ensues, but they get away, and when in the desert again, John issues a declaration that that baby has been a problem ever since it's arrival; he's insistent on now shooting the damn kid, but Molly wants no part of that, and maternally takes the ultimate action by killing John to protect the kid. Then after all her hardship escapade, she returns to where she left--Jesus! --And renames the kid after the husband she abandoned--covering up her mistake with a lie, claiming she was taken hostage, and demands at the same time that she be rewarded with the bounty of John. So . . . Well . . . Ya see . . . We got a women in her element of fickle, and, one who learned practicality from her experiences.
Low budget western tale
Leofwine_draca25 April 2018
Warning: Spoilers
MOLLY AND LAWLESS JOHN is a little known, low budget western of 1972, starring an ageing former starlet (Vera Miles) and an up-and-coming young buck (Sam Elliott). Miles plays a frustrated housewife, abused by her husband, who falls in love with a supposedly violent criminal currently residing in the town's jail. Elliott plays it murky for the most part until his true character comes out and is quite effective, but this film belongs to Miles for the most part. After a low key jailbreak this becomes a journey narrative of sorts, a film which ably transmits the harsh reality of desert life. It's mildly depressing but quite profound at times, although too slow moving to really work.
Offbeat western
Wizard-830 April 2011
Warning: Spoilers
This is a pretty unusual western. There isn't much in the movie that would be considered action, for one thing. Instead, it seems to be more of a character study than anything that would suggest a western. One character seems to be impossible to have anything considered good in his behavior, and the other character spends the movie learning just that about the other character, and faced with the challenge of what to do about that fact. I have to admit that the movie seemed to be taking its sweet time in showing these characters; this might have worked better as a one hour (with commercials) television special than a full length movie. We get plenty of scenes that don't seem to make any difference to the characters, like when they are captured by Indians. Also, the movie's low budget is painfully obvious at times. Still, despite the movie's slow pace and cheapness, it remains strangely captivating - you'll want to see what happens to the characters by the end. If you are in a patient mood and an unconventional western seems appealing to you, you might find this movie rewarding.
Totally unrealistic and pointless ......
merklekranz23 April 2017
"Molly and Lawless John" has a very young Sam Elliott and Vera Myles roaming all over New Mexico, after he uses her to break out of her husband's jail. Along the way they pick up a new born papoose, who goes along for the planned escape into Mexico. If your idea of entertainment is watching Sam Elliott shave every ten minutes, then you have your movie. If you are looking for an action Western, look elsewhere. The film plays more like a series of contrived mishaps along the trail, and is overly talky to the point of pointlessness. Big disappointment, even for fans of the actors, and it really is a shame because the talent is there, but the script is way underdeveloped. - MERK
Cheesy
shinsakuto-8584914 June 2018
I just watched this and just don't know how she had the strength to carry John's dead body and draped him over a horse. Not only is she a meek woman but one that is in a weakened condition having spent weeks in the hot desert. The best she could have done is wrap the body in a blanket and tie a rope around the legs and pulled by a horse.
I Am Woman, Hear Me Capitulate
NoDakTatum29 October 2023
Hey, ladies! Feeling a little down? Want to be able to assert yourselves to the knuckle-dragging cavemen you have ended up with? Well, have I got the flaming feminist western cinematic statement for you! Sam Elliott is Lawless John Lawlor. He robs a bank, and steals a horse from his own partner. Sheriff Marvin (John Anderson) and Deputy Tom (Clu Gulager) bring him in. In jail, John makes goo-goo eyes at Molly (Vera Miles), the sheriff's wife. He tells her a sob story, and gets under her thin, naive skin. He promises to take her away from the dirty little New Mexico town and give her the babies Marvin never will- well, okay! Molly breaks John out, and they make sweet, clothed love in the desert. John makes no secret of the fact that he lied to Molly to get out of prison. After you recover from that shock, the odd couple hide out in an abandoned Native American settlement. A pregnant Apache woman (Melinda Chavaria) happens by, gives birth, and dies. Molly takes the baby and names it Little John. This new "family" spend the rest of the film on the run, until demure Molly finally stands up to lawless John.
Vera Miles does her best with a lousy role. Her character is treated like garbage by all the men in the film, yet she gamely marches on and lets them. The only time she stands up to John is where the baby is concerned. Her love for John is unbelievable and flimsy. Sam Elliott's John is such a jerk, you wish someone would shoot him, especially Molly, who has so many opportunities but never acts on them. The screenplay plays like a stage play, as static dialogue scenes go on FOREVER, including John's wooing of Molly in the jailhouse. Director Gary Nelson sure likes to pad his film with long shots of horses and riders silhouetted on far-off ridges. Watch for the scene where John starts taking off his clothes for a bath, much to the chagrin of Molly. I have seen boom microphones in shots before, but this mic sneaks up from the bottom of the frame right between the two actors. The film makers thought this was empowering for women, but it is not close. This western says "Ladies, let your men treat you like crap, maybe eventually you will do something about it." I am empowered to say this movie sucked.
Vera Miles does her best with a lousy role. Her character is treated like garbage by all the men in the film, yet she gamely marches on and lets them. The only time she stands up to John is where the baby is concerned. Her love for John is unbelievable and flimsy. Sam Elliott's John is such a jerk, you wish someone would shoot him, especially Molly, who has so many opportunities but never acts on them. The screenplay plays like a stage play, as static dialogue scenes go on FOREVER, including John's wooing of Molly in the jailhouse. Director Gary Nelson sure likes to pad his film with long shots of horses and riders silhouetted on far-off ridges. Watch for the scene where John starts taking off his clothes for a bath, much to the chagrin of Molly. I have seen boom microphones in shots before, but this mic sneaks up from the bottom of the frame right between the two actors. The film makers thought this was empowering for women, but it is not close. This western says "Ladies, let your men treat you like crap, maybe eventually you will do something about it." I am empowered to say this movie sucked.
Beautiful scenery, good acting, script needed a doctor
fredit-4300418 August 2022
About the only reason anyone would watch this 50 year old film is Sam Elliott. If you are a Sam fan (I am) you will have added a star or two to your rating. There were some good scenes, viewed in isolation. But stringing them together we're left to wonder whether about characters' motivations from one scene to the next--especially Sam/John. Anyone looking for hidden treasure here should remember that this film was made when drive-in theaters were popular, and recreational drugs were gaining in popularity.
Much more than just a little Western!
kathy53538536 March 2003
I came upon this little old Western because I like Sam Elliot in just about anything I see. I think he is a fine actor, underrated by many as just a one character actor. This early one proves them wrong. I thought that this movie had an early tone of the current independent movies being made. Also a little of a European quality to the way it was presented. Quiet, not a lot of background music. Sometimes seemingly slow, but well paced and always going somewhere. Sam Elliot's character of Johnny, was wonderfully played. We don't know him in the beginning, only his reputation. He reveals himself verbally at first, and by his actions as the movie progresses. Vera Miles as Molly, was so touching. A woman self described as once bright and fun when she was young, now afraid to speak. Her hopes and dreams gone with the dust of the town and aging without the much wanted children. Her husband, Marvin is the Sheriff. Softly played by John Anderson, he shows us how hard life has made him, and later his true caring underneath. This is a great script. It is about selfishness, and selflessness; the inability to change, and the ability to change; needing protection, and the empowering chance to protect. They just used a Western set as a backdrop. I wish that this great little movie could find wider distribution now with videos. I thought it was truly well played and well made!!
An engrossing and unpredictable Western
Woodyanders13 May 2010
Warning: Spoilers
Ruthless, but smooth and handsome young bank robber John Lawler (a fine and credible portrayal by Sam Elliott) convinces lonely and unhappy middle-aged Molly (an excellent and sympathetic performance by Vera Miles) to bust him out of jail. The couple go on the lam. A posse chases after them. Director Gary Nelson, working from a thoughtful and surprising script by Tom Kingsley-Smith, relates the absorbing story at a deliberate, yet steady pace, delivers a believable evocation of the 18th century setting, and brings a welcome and refreshing humane and compassionate sensitivity to the premise (you can't help but feel sorry for the hapless Molly and her dismal plight). Miles and Elliott both do stand-out work in the lead roles: Elliott brings a certain rough charm to John while Miles beautifully projects a touching vulnerability as Molly. There's also able supporting turns from John Anderson as Molly's cold and mean sheriff husband Marvin Parker and Clu Gulager as ornery deputy Tom Clements. The delectable Cynthia Myers of "Beyond the Valley of the Dolls" fame has a small, but still memorably sexy part as luscious prostitute Dolly Winward. Moreover, this movie doesn't adhere to any obvious formula mentality and avoids becoming the standard romantic yarn one would expect from the plot: John proves to be a real nasty and deceitful bastard while Marvin turns out to not be such a bad guy in the long run. Charles F. Wheeler's polished cinematography gives the picture an appropriately dusty look. The tuneful'n'twangy score by Johnny Mandel and Marilyn Bergman likewise does the melodic trick. The ending is genuinely startling. Offbeat and interesting, this neat and moving little sleeper is well worth a look.
You Can't Teach An Old Dog New Tricks.
FightingWesterner18 November 2009
Middle-aged Vera Miles is married to a bland, somewhat domineering sheriff and longs for love and self-esteem. She succumbs to the oily charm of young murderous stud Sam Elliot, a "guest" at her husband's jail.
She frees him and together they flee. However, she soon finds that life on the lam is no life at all and that her new love might not be the misunderstood romantic she thought he was.
A satisfying low-budget frontier drama/adventure, Elliot and Miles deliver good performances and are well cast as the naive Molly and the vile John.
Of interest is the chance to see a young Sam Elliot in a central role, long before he perfected his unmistakable western drawl. Here he sounds like a California surfer!
Overall, a good effort. It's too bad though, that the great character actor Clu Gulager is wasted on a small role as a grungy sheriff's deputy.
She frees him and together they flee. However, she soon finds that life on the lam is no life at all and that her new love might not be the misunderstood romantic she thought he was.
A satisfying low-budget frontier drama/adventure, Elliot and Miles deliver good performances and are well cast as the naive Molly and the vile John.
Of interest is the chance to see a young Sam Elliot in a central role, long before he perfected his unmistakable western drawl. Here he sounds like a California surfer!
Overall, a good effort. It's too bad though, that the great character actor Clu Gulager is wasted on a small role as a grungy sheriff's deputy.
Low-budget, but grasps greatness
Wuchakk9 December 2014
The title, "Molly and Lawless John," reveals the plot of this underrated 1972 Western: A doomed-to-be-hanged Outlaw (Sam Elliott) escapes jail, taking the love-starved wife of the sheriff with him. Their misadventures ensue. John Anderson plays the sheriff.
While this is a low-budget Western, the filmmakers take advantage of their resources to produce a low-key adult Western that touches greatness. Despite the limited funds, the movie effectively supplies many of the typical Western staples, like a bank robbery, a jailbreak, posse chases, a sojourn through the desert, a watering hole, a Native American attack-and-capture sequence and magnificent New Mexican locations. Take, for instance, the Indian segment: Only a handful of Natives appear in the cast, but the filmmakers give the illusion of an entire tribe.
Yet it's the story itself where this Western shines. Despite the generally slow-moving drama, the movie maintains your attention with great performances and interesting psychological subtexts. Vera Miles is outstanding in the titular role as the gentle, humble, modest, compassionate and daring Molly. The ages of the cast members match the details of the story pretty well: Vera, as the childless wife, was 42 during filming while Sam Elliott was 27; and the stunning Cynthia Myers was only 21 in her brief and final role (remember her from the notorious "Beyond the Valley of the Dolls" from 1970?). Myers was easily one of the most beautiful women to walk the earth at the time.
By the way, if you're thinking about viewing "Molly and Lawless John" expecting the typical amiable Sam Eliott Westerner, look elsewhere. Again, the title of the film tells all.
The film runs 98 minutes.
GRADE: A-
PS: People complain about the DVD because it's full-screen and the picture quality supposedly isn't up to snuff but, despite the full-screen presentation, I thought it looked fine for such an obscure Western; and I didn't have a problem making out what was going on in the dark jail, pueblo or cave. The filmmakers were shooting for realistic lighting and they did a fine job.
While this is a low-budget Western, the filmmakers take advantage of their resources to produce a low-key adult Western that touches greatness. Despite the limited funds, the movie effectively supplies many of the typical Western staples, like a bank robbery, a jailbreak, posse chases, a sojourn through the desert, a watering hole, a Native American attack-and-capture sequence and magnificent New Mexican locations. Take, for instance, the Indian segment: Only a handful of Natives appear in the cast, but the filmmakers give the illusion of an entire tribe.
Yet it's the story itself where this Western shines. Despite the generally slow-moving drama, the movie maintains your attention with great performances and interesting psychological subtexts. Vera Miles is outstanding in the titular role as the gentle, humble, modest, compassionate and daring Molly. The ages of the cast members match the details of the story pretty well: Vera, as the childless wife, was 42 during filming while Sam Elliott was 27; and the stunning Cynthia Myers was only 21 in her brief and final role (remember her from the notorious "Beyond the Valley of the Dolls" from 1970?). Myers was easily one of the most beautiful women to walk the earth at the time.
By the way, if you're thinking about viewing "Molly and Lawless John" expecting the typical amiable Sam Eliott Westerner, look elsewhere. Again, the title of the film tells all.
The film runs 98 minutes.
GRADE: A-
PS: People complain about the DVD because it's full-screen and the picture quality supposedly isn't up to snuff but, despite the full-screen presentation, I thought it looked fine for such an obscure Western; and I didn't have a problem making out what was going on in the dark jail, pueblo or cave. The filmmakers were shooting for realistic lighting and they did a fine job.
To quote Lawless John, it "ain't much, but it's a hell of a lot better than nothing."
Poseidon-324 October 2005
Warning: Spoilers
Marketed as shoot-em-up or outlaws-on-the-run flick, this is really more of a character study concerning a woman deeply in need of affection and unable to get it anywhere. Miles plays a repressed, verbally abused sheriff's wife in a tiny town called Cactus. She lives a life of drudgery and emotional emptiness. When wanted outlaw Elliott is brought in by her husband, she begins to blossom and open up thanks to his insightful words of praise and kindness. Knowing he will be hanged by her husband, Miles frees Elliott and runs off with him. However, she soon finds out that life on the run doesn't hold all the glamour and romance that it may have promised. In fact, it's downright oppressive and potentially deadly. Their subsequent adventures are more than a little convenient and unlikely, but manage to hold the attention. Miles gives a sensitive and mostly appealing performance, though her character's naiveté can sometimes become a little trying. Elliott is a snake in hunk's clothing. He charms Miles into doing his bidding, but then offers her such endearments as "You ain't much, but you're a hell of a lot better than nothing." His ample physical charms are on display several times though never to the degree that one might hope for. He and Miles create a decent amount of chemistry. Elliott, at this stage of his career, doesn't seem to be able to convey the processes behind his character's continual flip-flopping, though that may also be the fault of the script. Anderson plays Miles' husband and is exceptionally adept at being a cold, tough piece of work. Gulager's role is abbreviated and seemingly unnecessary, though he tries hard to inject as much character into it as he can. Former Playboy model Myers makes an impressive brief appearance. Oddly, this was her final film role, though she's certainly no worse an actress than so many others who have taken a stab at the profession. The film's writer turns up briefly as a whorehouse customer laying in bed. If not for the language, a flicker of violence and some brief partial nudity, this could easily have been a TV movie and has a cast that suggests as much. It's not a bad film, but isn't a particularly great one either. It's overall message of woman's empowerment seems negated somewhat by the ending though Miles seems to be in charge, at least, by that point. An end credits song by Johnny Mandel and the prolific Alan and Marilyn Bergman got a Golden Globe nomination, but nothing from Oscar.
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