Thelma (Geena Davis) is an overworked housewife, and Louise (Susan Sarandon) is an underpaid waitress. They need a vacation, and they need to unwind. But what was supposed to be a short fishing trip for these long-time friends becomes life in the fast lane with them wanted for murder.
In a movie industry overwrought with costumed heroes, re-quels, and turning intellectual property into (hopefully) a hit or, even better, a franchise, Ridley Scott’s THELMA & LOUISE would look as strange now as it did when it arrived in theaters in May 1991—a female-led summer movie vehicle anchored by two strong performances. If a hit, the film had no prospects for a sequel. Oh, there are ways, but just because something is a success doesn’t mean it deserves an encore, which is why Paul Newman and Robert Redford paired again in THE STING and not BUTCH CASSIDY AND THE SUNDANCE KID 2.
Upon its release, some male critics dismissed the propulsive drama as anti-male and could not connect to its exploration of female empowerment as other journalists expressed. Nearsighted those few may have been, the film was both a commercial and critical success. Picking up a handful of Oscar nominations and winning for its original screenplay, THELMA & LOUISE was like a trailblazing mashup of ALICE DOESN’T LIVE HERE ANYMORE and BONNIE AND CLYDE.
On the road, Thelma is beyond excited. She went on the trip without her husband’s permission. Married young to dumbass Darryl (Christopher McDonald) and stuck at home cooking and cleaning, leaving without consent helps her gain some sense of independence and strength. Louise already has these qualities and is outwardly motherly despite having no children. A decision to stop in the middle of nowhere and have drinks in a crowded bar turns bad. Thelma gets tipsy and dances with a stranger, only to rebuff his sexual advances. When the stranger attempts to rape her outside the bar in a secluded spot, Louise pulls out a gun and shoots him dead.
The right thing would be to wait for the police to arrive and explain what happened. Thelma and Louise, however, jump into their car and disappear into the night, thick exhaust casting shadows of red from the taillights.
The wrong thing is followed by more poor choices, like deciding to drive to Mexico and start a new life. Louise calls Jimmy (Michael Madsen), her on-again-off-again boyfriend, to wire her life savings. The getaway gets spoiled by a handsome hitchhiker (Brad Pitt) who steals the cash after a motel room sexcapade with Thelma. Meanwhile, Detective Slocumb (Harvey Keitel) starts his murder investigation, discovers their whereabouts, and tries to convince them to give themselves up.
Despite commercial and critical acclaim, the film’s messaging during its release was misunderstood. Even screenwriter Callie Khouri recognized this when she saw women screaming in adulation when Louise shot the rapist in the parking lot. This was not her intention. Khouri wasn’t aiming to lionize Thelma and Louise. But that’s the beauty of cinema: audiences can make their own interpretations and conceptualize them how they want. If the vast majority see Thelma and Louise’s actions as a catharsis to societal constraints for women in general, then that’s their prerogative.
Beyond challenging gender roles and promoting women’s lib, I love the road trip as metaphor for their own journey of transformation. It’s even reflected in their wardrobe changes over the film’s course. Going from pink collars and middle-class housewife duds to washed-up blue jeans, cowboy boots, and white tanks and black sleeveless tees only helps add credence to the exaggerated stories the media would tell after they’re gone.
Then there’s the Polaroid they take together at the start of their journey, all gussied up. It’s emblematic of their friendship and the perfect denouement to the unbridled spirit they would leave behind as the two clasp hands and drive past the point of no return.
Ridley Scott is a master of visual storytelling, so I was happy when I read that one of his films would join the Criterion Collection this year. (The distributor previously released his sci-fi classic BLADE RUNNER a long time ago on Laserdisc.) THELMA & LOUISE may not be in the echelon of ALIEN or BLADE RUNNER, but it supports my assertion that Scott is one of the best to helm strong female characters in big studio movies. In arguably their most iconic roles, Geena Davis and Susan Sarandon both received Best Actress nominations for their work. Ridley Scott also picked up his first Oscar nomination for directing. The balancing act he plays with lighthearted moments and dark undertones is impeccable, as is the direction of his two leads.
In the exclusive new program Ridley Scott: Beginnings (23 minutes), the director discusses his background – like falling in love with American cinema while living in post-war Germany with his family – and how he applied visual techniques he learned shooting commercials to transitioning to the film industry. At the time of its release, THELMA & LOUISE was just his second contemporary set film. Scott also doesn’t mince words about how Paramount executives received his debut film, THE DUELISTS.
Two early short films directed by Ridley Scott are also presented. Boy and Bicycle (1965) features Scott’s younger brother Tony. Ploughman is a Guinness ad made for the production company he founded with Tony Scott, Ridley Scott Associates (RSA).
The final exclusive program is Callie Khouri discussing the screenplay’s genesis, including how the women of film noir (Jacques Tourneur’s OUT OF THE PAST is cited) and friendship with country singer Pam Tillis helped develop the main characters.
The remaining extras are licensed from MGM’s 20th anniversary Blu-ray release. Among them are two audio commentaries; a retrospective documentary overviewing the film’s conception, production, and legacy; and extended/deleted scenes (including an extended ending with optional commentary from Ridley Scott).
Interpretations may vary in evaluating where THELMA & LOUISE falls in relation to contemporary feminism. Some men in the film may be wrongfully characterized as dishonest and dangerous, but some likely got what was coming to them. Ridley Scott and the gang aren’t looking to be impartial, which is why the ending is so bold and enduring.
The Criterion 4K UHD/Blu-ray release (one 4K UHD disc, two Blu-ray discs) comes housed in a digibook package. It includes an illustrated booklet featuring essays by critics Jessica Kiang and Rachel Syme and journalist Rebecca Traister. Special kudos to Sam Hadley’s (WRITTEN ON THE WIND, POLYESTER) cover illustration and the interior gateway foldout with a front and back that beautifully represents the final goodbye.
Grade: B
