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

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EASY RIDER (1969)

Title: EASY RIDER

Year of Release: 1969

Director: Dennis Hopper

Genre: Adventure, Drama

Synopsis: Two freewheeling bikers ride across the United States seeking freedom and to find themselves, but meet a tragic end.

Within a film history context: Films which have bikers as central characters can be found from the earliest days of cinema. One of the most notable was Mabel Norman and Mack Sennett's silent MABEL AT THE WHEEL (1914). Here, Charles Chaplin offers Mabel Normand a ride on his motorcycle in this zany comedy studded with other comics such as Chester Conklin, and co-director Mack Sennett. Another comedy was SHERLOCK JR. (1924), both starring and directed by Buster Keaton. It is noteworthy for a remarkable scene where Mr Keaton rides his motorcycle over a collapsing bridge, and surpasses many other obstacles. A film with larger scope given to a motorcycle rider protagonist was Jack Lee's ONCE A JOLLY SWAGMAN (1949). In this movie, a man's passion for motorbike racing causes issues in his marriage, with Dirk Bogarde in the lead part of the professional motorbike racer. Similarly THE PACE THAT THRILLS (1952), directed by Leon Barsha also featured a biker, with romance and much action included for good measure, with Bill Williams in the lead. One of the most famous of the biker movies was Laszlo Benedek's THE WILD ONE (1953). An excellent showcase for Marlon Brando, it revolved around biker gangs, and their impact on a small town and its residents. In an entirely different vein, exploitation was the name of the game in MOTORCYCLE GANG (1957), directed by Edward L. Cahn. It was one of American International Pictures' films on the theme, with others such as David Bradley's DRAGSTRIP RIOT (1958) also appearing around the same time. The difference between the former, and the latter was that the latter featured familiar faces such as Fay Wray and Connie Stevens in its cast. Into the 1960s came an explosion of biker-themed movies on screen, especially in the second half of the 1960s.

THE GREAT ESCAPE (1963), directed by John Sturges, had scenes with Steve McQueen riding a motorbike, in this taut World War II tale. With Joseph Losey's THE DAMNED (1963), a malignant motorcycle gang cause nothing but problems for an innocent man who falls into their clutches. Elvis Presley vehicle ROUSTABOUT (1964), directed by John Rich, with Mr Presley riding, and singing on a motorcycle, was one of the main attractions in this musical romance. On the other hand, Sidney J. Furie's THE LEATHER BOYS (1964) featured several supporting biker characters as well as a biker main protagonist. More blatant in its approach was MOTORPSYCHO (1965), directed by Russ Meyer. Exploitation was the order of the day, with misogynistic bikers raping women, and causing other mayhem, but their latest crime finds them an opponent determined to bring them down. Roger Corman's THE WILD ANGELS (1966) was another exploitation film, but this time, with an excellent cast, including Peter Fonda, Bruce Dern, Diane Ladd and others, in this movie about a California biker gang, and their hell raising ways.

Further biker adventures and capers were spotlighted in other films such as, most notably, HELLS ANGELS ON WHEELS (1967), directed by Richard Rush, and Daniel Haller's DEVIL'S ANGELS (1967). Revenge was the motivation for THE GLORY STOMPERS (1967), directed by Anthony Lanza, and David Hewitt's HELLS CHOSEN FEW (1968). There was also a slight trend toward female bikers in several late 1960s films, with 1968 alone sporting SHE-DEVILS ON WHEELS, directed by Herschell Gordon Lewis, Maury Dexter's THE MINI-SKIRT MOB, and THE GIRL ON A MOTORCYCLE, directed by Jack Cardiff, some of the envelope-pushing releases that year. Compared to these examples, EASY RIDER had in common the scenic footage of bikers traveling the country, but diverted in other surprising ways from the previous entries in the genre.

Unlike the earliest movies such as MABEL AT THE WHEEL and SHERLOCK JR., which employed biker characters in amusing scenarios, EASY RIDER, overall, was neither deeply dramatic, nor comic in any particular way. There was some humor in the film, but it was not of a broad nature, more subtle in its delivery. The supporting characters in EASY RIDER generally provided the spice, which gave the movie a balance to the scenes of biker escapades. EASY RIDER had an easy-going way about it in the style of ROUSTABOUT, with its picturesque views of the countryside, but lacked the melodrama of entries such as THE GLORY STOMPERS, and the other mid to late 1960s biker films. While many of those focused upon violent narratives with evil bikers, such as in MOTORPSYCHO, the bikers in EASY RIDER were, in complete contrast placid, and even-natured in comparison. 

Wyatt and Billy in EASY RIDER never directed violent tendencies toward anyone, but ill-feeling was aimed at them in the film, which gave the characters a more realistic backdrop than the indestructible, malevolent bikers of other examples. The trend of evils bikers can sometimes be over the top, but having the bikers under threat in EASY RIDER added refreshing emotional layers to the movie lacking in the other movies. Reaction to their treatment from other people, such as George's pointed comments, were also shown in the movie, something which many of the others either only touched upon briefly, or ignored completely. EASY RIDER's characters were also of a different caliber, thus making them more relatable than the sometimes overwrought bikers from other examples. 

There was a contrast between the cool, calm, and collected Wyatt with the edgier, slightly suspicious Billy which worked well. Their motivations were also different from the other biker films in general which made EASY RIDER stand out in the respect. In EASY RIDER, Wyatt and Billy only sought variety, and different experiences with a variety of people on the road. It was more of an odyssey for them, especially displaying their reactions to people, and how other people in turn envisioned them. The film was more of a learning experience not only for the characters but also, the viewers, which also gave EASY RIDER a slightly sombre streak. The most poetic of the biker movie genre, EASY RIDER is memorable for its thoughtful presentation and sincere intentions, an original film that deserved its immense success.

Overview: Dennis Hopper was an actor who began his movie career as a young adult, and directed seven feature films over the space of twenty-five years. His second movie, THE LAST MOVIE (1971), was about a horse wrangler involved in the filming of a movie in Peru, and how his life immeasurably changes after being involved in this project. Critically derided at the time of its release, with poor box office takings, it hampered its director's ability to make another film for some time. Mr Hopper's third film, OUT OF THE BLUE (1980), was a total change of pace from his previous movie. The character study of a young woman obsessed with Elvis Presley and punk music, it was much better received than THE LAST MOVIE, specifically due to its direction, and performances. Grittier in content was COLORS (1988). An examination of gangs, and associated violence in Los Angeles, as seen through the eyes of a veteran policeman and his younger partner, it was well-received not only critically, but also at the box office. The opposite could be said of Dennis Hopper's next film, CATCHFIRE (1990). Despite starring Jodie Foster, and an illustrious cast in a tale of a woman pursued due to her witnessing of a Mafia killing, it did not do either good business financially, or critically. Mr Hopper's penultimate movie, THE HOT SPOT (1990) was in a similar predicament. Crime was again the focus, this time with a man robbing a bank, and becoming enmeshed not only with the police, but also, the town's female inhabitants. Dennis Hopper's last feature film, CHASERS (1994) was a comedy about two United States Navy men assigned to take a Seaman female prisoner to jail, this woman capable of doing anything to get away. EASY RIDER was Dennis Hopper's directorial debut, and one of his most insightful motion pictures.

The story of two bikers riding across America, searching for a slice of happiness, and not finding it, is well explored, and executed by the director in EASY RIDER. Dennis Hopper achieves this in a number of ways. Mr Hopper captures a time and place in the world with exactness and sensitivity, especially highlighting feelings of disenchantment, and displacement, on the part of his protagonists. The America of the late 1960s, with all of its understanding, and also, lack thereof on display, is demonstrated by Mr Hopper through his characters, with both their reactions to, and the impact they make with their presence, on the world they inhabit. Being one's self, and finding one's true self, are high on the film's aspirational radar. EASY RIDER looks at how the natural presence of its characters is threatening to certain others in the story world, and this in turn brings themes of being the outsider, racism, and other concepts to the fore. These are the strongest segments of the movie, which are the most memorable in retrospect. EASY RIDER, though, is a picture which has elements which have not held up as well over time.

While EASY RIDER has a contagious aura of freedom which is not to be discounted, especially in the many motorcycle scenes, some of the segments of the film are not as sturdy as others. In the 1960s, the commune scenes would have possibly been more relevant than now, but these definitely could have been shortened. Even though these introduce one of the many characters who ride along with Wyatt and Billy, and have a purpose in the movie, they seem to go on a little, but one part of the film is particularly enervating to watch. More so than the commune sequences, the LSD drop out scene with Wyatt, Billy and their companions is interminable. It does not add much to the film except excess weight, and, if eliminated or substantially edited, would not have been missed. Something else that subtracts from the film is the fact that Wyatt and Billy are drug dealers, which makes them somewhat less sympathetic on one level. While the tragedy of the finale is palpable, having them involved in illegal activity takes away somewhat from the devastating effect the film strives to achieve. In spite of these flaws, there are many things which recommend the film as one that must be seen by those seriously interested in cinema. EASY RIDER, on the whole, is a landmark movie that set trends in cinema, and has a definite place in cinematic history.

Acting: Three acting contributions are the most prominent in EASY RIDER. As Billy, the anxious, slightly paranoid biker, Dennis Hopper brings a nervy, jovial energy to his role, that can be contrasted with Wyatt. As Wyatt, Peter Fonda exhibits a cool, philosophical outlook that works well as the more subdued of the two bikers. The small role of boozy, curious lawyer George Hanson is made memorable by Jack Nicholson. A performer who excels in roles where he is called upon to display his dominant personality, here he is more knowing, understanding, with a vulnerability lacking from his other portrayals.

Soundtrack: EASY RIDER has an eclectic soundtrack, with an extensive collection of rock songs of the era playing as non-diegetic music. Tunes such as 'Born to be Wild', 'I Wasn't Born to Follow', and 'Kyrie Eleison', to name several examples, not only illustrate, in many cases, what is taking place onscreen, but also, immeasurably add an atmosphere of excitement, and zest, to the movie.

Mise-en-scene: Laszlo Kovacs' cinematography is first-rate, highlighting the many beautiful, rugged places which Wyatt and Billy visit on their travels. The film is shot extensively in many locales which gives the film a sense of verisimilitude, and is notable historically for showcasing locations which would be vastly different now than what they were at the time of EASY RIDER's filming.

Notable Acting Performances: Dennis Hopper, Peter Fonda, Jack Nicholson.

Suitability for young viewers: No. Female nudity, adult themes, medium-level violence, drug use.

Overall Grade: B

Link: IMDB Page

Trailer