I'm a bit hit or miss with Spielberg's filmography, perhaps unsurprisingly, considering how wide a range he's demonstrated over his long career. Here we are almost at the very beginning of it, with his first theatrically released feature (there had been a TV movie prior to this) and what a surprise it is. Based on real-life events, "The Sugarland Express" finds him making an offbeat, contemporary road-movie, admittedly at a time when there was a plethora of similarly themed movies coming from predominantly young American directors although it has to be said, he does a good job.
Both the title and early scenes are deceptive in that they lead the viewer to think they are in for a light, comedic vehicle allowing Goldie Hawn to play for cheap, kooky laughs but the tone of the film grows progressively darker, the moment Hawn and her ex-con boyfriend William Atherton commandeer a police car and its young driver, all to serve the purpose of reuniting them with their young child who has been placed in foster care with a wealthy middle-aged couple.
We're in the Deep South of America and Spielberg sharply contrasts the white-trash but well-meaning demeanour of Hawn and Atherton with their double-dealing, single-minded pursuit by the local police force. As the two plus one wind their way to their destination, the number of police cars on their trail grows exponentially but along the way word gets out to the general public so that they become local heroes and indeed media celebrities despite being wanted criminals.
Spielberg leaves us in no doubt as to where his sympathies lie, especially as there's never any doubt about whether they'll even try to take Atherton in alive. He demonstrates skill in marshalling his resources, particularly the crowd scenes and the armada of chasing police cars whilst inexorably moving the story along. Naturally, there's some humour involved too especially when they drive through a fawning local populace who come out to support them, some effective stunt work but most of all he Impresses with his handling of his characters especially the deepening relationship that develops with their policeman hostage, played by Michael Sacks. To this end, he draws out winning performances from his three leads as well as the duplicitous police chief Ben Johnson who will spare no effort to nab his prey.
It seems to me that there were as many road movies of this period as there were cars on Goldie's trail but this one does stand out for its attacks on the state attitude towards social welfare, police brutality and the use of firearms.
This unsentimental social drama perhaps shows a different road the soon-to-be famous director could have travelled or even have periodically returned to down the years rather than his something-for-everyone blockbuster approach in the future.
Both the title and early scenes are deceptive in that they lead the viewer to think they are in for a light, comedic vehicle allowing Goldie Hawn to play for cheap, kooky laughs but the tone of the film grows progressively darker, the moment Hawn and her ex-con boyfriend William Atherton commandeer a police car and its young driver, all to serve the purpose of reuniting them with their young child who has been placed in foster care with a wealthy middle-aged couple.
We're in the Deep South of America and Spielberg sharply contrasts the white-trash but well-meaning demeanour of Hawn and Atherton with their double-dealing, single-minded pursuit by the local police force. As the two plus one wind their way to their destination, the number of police cars on their trail grows exponentially but along the way word gets out to the general public so that they become local heroes and indeed media celebrities despite being wanted criminals.
Spielberg leaves us in no doubt as to where his sympathies lie, especially as there's never any doubt about whether they'll even try to take Atherton in alive. He demonstrates skill in marshalling his resources, particularly the crowd scenes and the armada of chasing police cars whilst inexorably moving the story along. Naturally, there's some humour involved too especially when they drive through a fawning local populace who come out to support them, some effective stunt work but most of all he Impresses with his handling of his characters especially the deepening relationship that develops with their policeman hostage, played by Michael Sacks. To this end, he draws out winning performances from his three leads as well as the duplicitous police chief Ben Johnson who will spare no effort to nab his prey.
It seems to me that there were as many road movies of this period as there were cars on Goldie's trail but this one does stand out for its attacks on the state attitude towards social welfare, police brutality and the use of firearms.
This unsentimental social drama perhaps shows a different road the soon-to-be famous director could have travelled or even have periodically returned to down the years rather than his something-for-everyone blockbuster approach in the future.