DIRTY MARY CRAZY LARRY (1974)

Title: DIRTY MARY CRAZY LARRY

Year of Release: 1974

Director: John Hough

Genre: Action, Drama, Road Movie

Synopsis: Two car racers steal money from a supermarket in order to buy a car, with one of the men's one night stand accompanying them on their journey.

Within a film history context: Carsploitation movies, being narratives where characters spend the majority of their time in an automobile, with chases, and car crashes part and parcel of this genre, have been present in cinema since the late 1950s. One of the first to deal with this was Arthur Ripley's THUNDER ROAD (1958). A man dealing in the moonshine trade is pursued both by gangsters, and the police, with many scenes of dirty dealings in automobiles, with car chases and crashes also taking place. In ROADRACERS (1959), directed by Arthur Swedloff, matters were different. Centering upon the sport of motor racing, it followed the relationship of a son and his father, who loses faith in his offspring with the death of another race driver, feeling his son caused this, and backing his son's rival. Leigh Jason's THE CHOPPERS (1961), was about young people who steal cars, and remove car parts to sell to junkyard proprietors, with the police on their trail. Again, there are many sequences set in cars, or automobiles as a backdrop for intrigues in this crime movie. Car racing was on show once more, but with some extras, in THE YOUNG RACERS (1963), directed by Roger Corman. The relationship between two men, one a current, the other a former racing car driver, is the focus here, and their interactions with the opposite sex one of the issues where they are at loggerheads. William Asher's FIREBALL 500 (1966), mixed stock car racing action and romance in this tale of both professional, and personal racer rivalries between two young men, with some intrigue thrown in for good measure. 

With HOT RODS TO HELL (1966), directed by John Brahm, transplants from Boston purchase a desert hotel in California. A man and his family clash with hot rodders who seek to terrorize them after he berates them, but unexpected matters come to the fore in this action film. More fantastical in nature was Richard C. Sarafian's VANISHING POINT (1971). A man who aims to deliver a car in a short amount of time from one state to another has a number of experiences along the way, albeit being intoxicated on drugs. TWO-LANE BLACKTOP (1971), directed by Monte Hellman, featured two men in a drag racer making their way across the country, and becoming involved with some colorful characters in the process during their trip. Another take on racing car drivers was served by Robert Stringer's THE DAREDEVIL (1972). A professional racing car driver becomes embroiled in drug smuggling, to the detriment of his life, with plenty of car racing and crash scenes, and Robert Montgomery in the lead. Crime again was the crux of WHITE LIGHTNING (1973), directed by Joseph Sargent. A criminal is in jail for bootlegging liquor, and goes undercover to smash a moonshine gang, but has no intention of assisting authorities to bring the gang to justice, in light of his brother's death at the hands of a corrupt sheriff. DIRTY MARY CRAZY LARRY was one of the best carsploitation movies, for a number of reasons. 

As with several of the films in this category, such as THUNDER ROAD, THE CHOPPERS, THE DAREDEVIL, and WHITE LIGHTNING, the characters in DIRTY MARY CRAZY LARRY were involved in crime or criminal activity. In these movies, the characters at times associated with some highly unscrupulous underground figures. DIRTY MARY CRAZY LARRY differed in this arena as the two male protagonists were in the crime spree for themselves, organizing hits, without answering to anyone. This gave them an independence of sorts that the characters in the other movies did not have. It was also in keeping with the road movie elements of the film, whereby characters seek no ties to anything or anyone, but prefer to live by the seat of their pants. In addition to this, their status as race car drivers makes the movie closest to THE DAREDEVIL, in terms of them being professional drivers who dabble in illegal activity. Other aspects of DIRTY MARY CRAZY LARRY are worthy of discussion.

Many of the examples followed race car drivers, such as ROADRACERS, FIREBALL 500, and THE YOUNG RACERS, but delved more into their personal lives than DIRTY MARY CRAZY LARRY. This was an area which took a decided back seat in DIRTY MARY CRAZY LARRY, where, instead, there was an emphasis on car racing, eluding the police, and car crashes. Another area where DIRTY MARY CRAZY LARRY diverted was in the treatment of its female character. The vast majority of the films above utilized a female character as the romantic other half of the male characters. They were largely not involved in the unlawful exploits of the male characters, but in a supporting vein. Mary in DIRTY MARY CRAZY LARRY had a previous relationship with Larry in the picture, but things had turned sour. While not actively instigating any crime in the film, Mary, nevertheless, is along for the ride with her two accomplices in evading the police, and effectively becomes one third of the trio by staying with them. This is at odds with the views of femininity from the other films, where women were demure, and decorative, than the much more forward, intrepid Mary. An effective carsploitation picture, DIRTY MARY CRAZY LARRY is a fun cinematic jaunt.

Overview: John Hough is a British director who has made sixteen motion pictures over thirty-one years in both his native Britain, and the United States. His movies are generally action-oriented, with many forays into horror. Mr Hough's first film, EYEWITNESS (1970), was a thriller about a young boy who witnesses a political assassination, and is systematically targeted by the killers. TWINS OF EVIL (1971), was his first move into horror. A tale of witchcraft and devilry set in the 1600s, it had a fine British cast including Peter Cushing, and Dennis Price. TREASURE ISLAND (1972), was the rollicking adventure of a young boy who becomes involved with pirates, and treasure, with Orson Welles, Lionel Stander, and Walter Slezak rounding out the players. John Hough then made another film set in a past time, being WOLFSHEAD: THE LEGEND OF ROBIN HOOD (1973). In this version of the classic story, a farmer becomes a wanted man when he allows a suspected poacher to pass through his property, placing his life in jeopardy. More horror was on the agenda with THE LEGEND OF HELL HOUSE (1973). The mystery surrounding the deaths of people in a haunted house in two separate time periods is investigated by four people, with spooky results. A complete sea change for John Hough was offered by ESCAPE TO WITCH MOUNTAIN (1975). Two children with extraordinary powers are pursued by a wealthy man for their psychic gifts, and ability to predict events in this Disney family movie. It was followed in 1978 by RETURN FROM WITCH MOUNTAIN, also helmed by John Hough, and continuing the story of the two talented young people with psychic powers. 

Into the 1980s more horror, albeit in a family vein, was present in THE WATCHER IN THE WOODS (1980). Two young girls who live in a new family home in England become affected by past events which occurred close to their house involving a missing young woman. A stronger horror film from John Hough was INCUBUS (1982). A small town is shaken to its core by several violent rapes and murders of young women which some parties try to solve, but find it difficult in light of mysterious, and labyrinthine events. TRIUMPHS OF A MAN CALLED HORSE (1983), was the second sequel to the original A MAN CALLED HORSE, which detailed the continuing trials and travails of Horse. This time around, the discovery of gold causes issues between the Sioux tribe, and other parties seeking to control the resource. BIGGLES (1986), was John Hough's next project. A science fiction film of time travel between the 1940s and 1980s of a World War I pilot, and a salesman, it was a critical, and commercial disappointment. Horror again pervaded AMERICAN GOTHIC (1987). When some friends land on an island, they encounter a hillbilly family, but these people have more to them than first meets the eye, specifically relating to mayhem and murder. John Hough's final film to date, BAD KARMA (2001), was yet another horror film for the director. When a psychiatric patient believes that her analyst is the reincarnation of Jack the Ripper, it spells trouble not only for her doctor but also, his wife and daughter. DIRTY MARY CRAZY LARRY was John Hough's sixth motion picture, and one of his best-known movies. 

John Hough has made an entertaining, well-constructed film with DIRTY MARY CRAZY LARRY. The story of two car racing buddies, their crimes, and misdemeanors, teaming up with the girlfriend of one of them, it is a movie which easily keeps the attention throughout its running time. While the picture, at heart, is an adventure caper, filled with breathless action sequences and car smashups, there is a method to its fast-paced and diverting narrative. The director has carefully plotted the entire movie, and this organizing structure has the effect of providing it with a strong dramatic backbone. All the pieces fall into place in a natural manner, seeming spontaneous and real. Aside from this, the director's control over his story is evident in other ways. In a movie about car racing and chases, it would be expected that DIRTY MARY CRAZY LARRY would have a high incidence of death and carnage. Thankfully, there is none of this in the film, as it would have been not only extraneous, but also, exploitative. This lifts the film many cuts above others in the genre, giving it a more thoughtful, and clean feel. DIRTY MARY CRAZY LARRY does have its strong suits, but there are some oversights which rob the picture of further greatness.

The plotting in the movie is well-orchestrated, and one of its fortes, but not having a more thorough insight into the three main protagonists' backstories does let it down. It is easy, as such, to follow how the characters do what they do, but the why is not fully clear. Fuzzy character motivations are a staple of many 1970s films, which consequently leave these open to interpretation by the viewer. In this case, though, having a deeper understanding of exactly what led these three people to a life of crime is never adequately explored. Another problematic issue with DIRTY MARY CRAZY LARRY is its ending. On the one hand, it makes sense, as the characters were obviously headed on a collision course to doom. It gives events a tragic tinge that was highly unexpected, and memorable. On the other hand, the characters did indulge in crime, but did not cause death to others. Having them perish does deprive the viewer of, for example, being apprehended by police, which would sprout other story possibilities. The ending is anticlimactic in this way, and as the characters were so watchable, seeing their fate does not add up. A slightly flawed but very compelling movie, DIRTY MARY CRAZY LARRY is one of John Hough's most enjoyable cinematic outings.

Acting: The acting in DIRTY MARY CRAZY LARRY is just one of its assets. In the lead role of Larry, one third of the central trio, Peter Fonda shows a different side to his acting skills. Several years on from the EASY RIDER movie, he makes Larry a more distinctive character in DIRTY MARY CRAZY LARRY, with a fun side which was not obvious in his other freewheeling picture. The flighty and uninhibited Mary Coombs is given careful shading by Susan George. An actress who is able to get the audience on her side with her sympathetic ways, she is a potent protagonist in this tale of two men and one woman on a rapacious thrill ride. The third cog in this cinematic wheel, Deke, is equally well-defined by Adam Roarke. An actor with a quietly menacing and thoughtful nature, his subtle expressions and mannerisms perfectly complement his two co-stars. As Evelyn Stanton, an innocent woman temporarily caught up in these illicit shenanigans, Lynn Borden is convincing in a small role as the supermarket manager's wife. Four other performers are also notable in DIRTY MARY CRAZY LARRY.

The supermarket manager himself, George Stanton, is made memorable by Roddy McDowall. With his large expressive eyes and soft, commanding voice. Mr McDowall provides one of the best cameos in the movie. Kenneth Tobey is formidable as the red-haired, by the book sheriff Carl Donahue. With his well-lined face, and scowl ready to attack his opponent at any moment, Mr Tobey is welcome each time he is onscreen. As Captain Everett Franklin, Vic Morrow is yet another unique actor in DIRTY MARY CRAZY LARRY. His raspy voice, and willingness to do whatever it takes to get what he wants, makes Everett a relatable figure. The last illustrious acting performance in the film is by Eugene Daniels as policeman Hank, who was hot on Larry, Mary and Deke's trail. An actor with little more than a handful of film appearances, with his utter determination and nous as Hank, ensures that the viewer roots for him to reach his goal, giving the movie an unexpected perspective which is logical.

Soundtrack: Another aspect which sets DIRTY MARY CRAZY LARRY apart is its lack of musical accompaniment to the visuals. This works to its advantage, as there are sufficient interesting events taking place onscreen, these not needing music to punctuate their exciting nature. The single use of music in the movie is the song 'Time (Is such a funny thing)', performed by Majorie McCoy, and written by Bobby Hart and Danny Janssen. This bittersweet, soulful tune is utilized in both the opening, and closing credits, a common practice in 1970s movies. This leads the viewer to compare their expectations of the movie in the beginning, and contrast with what they have learned as a result of the picture unravelling at its conclusion. 

Mise-en-scene: DIRTY MARY CRAZY LARRY offers a realistic, and thrilling experience for spectators. Photography by Michael Margulies is crisp and beautiful, making everything appear attractive, despite much of the film taking place in rough terrain. Christopher Holmes' editing is also excellent, lending the movie oomph and zest which adds to its power. Special effects by Greg Auer, and stunts performed by Al Wyatt are also of a high standard. Care has been taken so these appear genuine, particularly the final scene, which is a model on how to shoot this type of sequence without resorting to gore, and other unnecessary gimmicks. 

Notable Acting Performances: Peter Fonda, Susan George, Adam Roarke, Lynn Borden, Roddy McDowall, Kenneth Tobey, Vic Morrow, Eugene Daniels.

Suitability for young viewers: No. Brief female nudity, adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer