Michael Cimino opened his remarkable directorial career with this largely underappreciated and, back in 1974, somewhat undernoticed THUNDERBOLT AND LIGHTFOOT. The greater the pity because it amounts to a great deal more than just an action/road/buddy/heist movie: it has an emotional and intellectual depth seldom seen in films in which Eastwood acted back then - though PLAY MISTY FOR ME and THE BEGUILED already put out signs that Eastwood's career was evolving toward something more intelligent than the flat character Dirty Harry, Honky Tonk, Joe Kidd, High Plains Drifter, Gauntlet vehicles that populated his 1970s.
I purposely mention Eastwood first because it was his company, Malpaso, that financed this project, and yet his laidback Thunderbolt allows the best roles and sharpest lines to go to Jeff Bridges (sublime show!), the humorless, murderous Red Leary played by George Kennedy with malevolent infamy, and the extremely funny Geoffrey Lewis going around selling ice cream while helping map out the heist. Some viewers suggest a gay liaison in the THUNDERBOLT-LIGHTFOOT relation. I disagree. Lightfoot picks up a couple of good looking broads which they bed in separate quarters, naked women turn, and what I saw was genuine friendship between the two men.
Superlative cinematography and editing by Frank Stanley and Ferris Webster, respectively. Lovely landscapes, the beginning against the backdrop of a corn field and mountains with Eastwood running from a church in priestly clothes to avoid taking a bullet, the first of many very well done action sequences.
Kudos to Michael Cimino for a magnificent directorial debut and a script in equal parts intelligent and lively.
Fitting musical score, particularly Paul Williams' song about 8 minutes into the action, "Where do I go from here?" which is relevant to the entire film, especially the ending.
Must-see opus that also reflects crime trends of the 1970s quite well. 9/10.
I purposely mention Eastwood first because it was his company, Malpaso, that financed this project, and yet his laidback Thunderbolt allows the best roles and sharpest lines to go to Jeff Bridges (sublime show!), the humorless, murderous Red Leary played by George Kennedy with malevolent infamy, and the extremely funny Geoffrey Lewis going around selling ice cream while helping map out the heist. Some viewers suggest a gay liaison in the THUNDERBOLT-LIGHTFOOT relation. I disagree. Lightfoot picks up a couple of good looking broads which they bed in separate quarters, naked women turn, and what I saw was genuine friendship between the two men.
Superlative cinematography and editing by Frank Stanley and Ferris Webster, respectively. Lovely landscapes, the beginning against the backdrop of a corn field and mountains with Eastwood running from a church in priestly clothes to avoid taking a bullet, the first of many very well done action sequences.
Kudos to Michael Cimino for a magnificent directorial debut and a script in equal parts intelligent and lively.
Fitting musical score, particularly Paul Williams' song about 8 minutes into the action, "Where do I go from here?" which is relevant to the entire film, especially the ending.
Must-see opus that also reflects crime trends of the 1970s quite well. 9/10.