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Thelma and Louise - Special Edition

When "Thelma and Louise" was released in 1991, it caused an unforeseeable uproar that generated more publicity, praise, and denouncement than its creators could have imagined. Audiences cheered for the film's two female antagonists, a pair of long-repressed women on the lam from the law and the suffocation of their once-miserable lives. Critics were almost united in their praise for the film's technique of skewering the normal buddy/road movie genres to its advantage, daring to take steps that until that point were unheard of. Then there were those who claimed the film's approval of violence and carelessness was just too much for comfort, and to this day, the battle rages on. ***

Call it what you like, there's no denying the film's extraordinary status in the history of cinema. Its titular outlaws became cultural icons, while the stars behind the wheel, Susan Sarandon and Geena Davis, received a jumpstart in their careers that brought them to the top of everyone's list. It's director, Ridley Scott, still ailing from the failures of "Someone to Watch Over Me" and "Black Rain," proved that he still had some of that moviemaking magic left from his days of giving us classics like "Alien" and "Blade Runner." And the film's writer, Callie Khouri, took home the coveted golden statuette for Best Screenplay that year. ***

So with all of this praise and commotion behind it, what did I think of "Thelma and Louise?" It's a tough question: there are movies that are easy to categorize in our minds as beloved, liked, disliked, loathed (whatever your personal preference for labels is), and then there are those, like this film for example, that defy those rules and perplex the mind. In looking back on the movie, I was stunned, shocked, at times disgusted, freaked out, detached, but always thoughtful, pondersome, and wary of what was going on in the film. It is, as I'm sure many will agree, one of the ultimate love-it-or-hate-it films of all time; as usual, I found myself torn between the two. ***

The story takes us to Arkansas, where lonely, dissatisfied housewife Thelma (Davis) is about the embark on a vacation with her best friend, Louise (Sarandon), a waitress at one of the town's hash joints. Louise is the more sensible, reserved one of the two, while Thelma has spent her entire life living under the oppressive shadow of her negligent husband, who's out late at night and treats her like potting soil. In her first act of free will, she leaves with Louise without hubby's permission; later, the two stop off at a gin joint on their way to a mountain cabin for a weekend getaway. Things get ugly when a lonely cowboy starts making eyes at the impressionable Thelma; what conspires that evening is the spark that will eventually culminate in a blaze of broken laws, broken chains, and unbroken feminine willpower. ***

To tell you anything more in terms of plot is like telling someone a knock-knock joke: you already know who's there. The adventures of Thelma and Louise carry us through a variety of tense situations, where our characters do everything from making rash decisions with no apparent forethought. The underlying theme of female empowerment pulls double overtime once things hit the breaking point: we begin to see a change in these women, who once pondered the consequences of their actions, and now give little afterthought to what might have happened had they simply done the right thing in the first place. ***

I ask you: is this empowerment, or just plain carelessness? Are the actions taken by these two characters methods of regaining some sort of lost superiority over those who would bring them down, or do they strike you as methods into which Thelma and Louise soon become lost? While loading a revolver, Thelma makes the comment, "I think I'm beginning to get the hang of this." Later, after another series of incidents and run-ins, she tells Louise, "Something's crossed over in me and I can't go back; I mean, I just couldn't live." It's tough to swallow words such as these: while you can practically feel the filmmakers nudging you into the corner in favor of the two runaways, there's something of a morality issue that always remains a constant factor. In fact, in retrospect, it almost seems sad in a way, that in the end, these two women's only hope for survival is driving off a cliff, holding hands, smiling their brightest. ***

The problem I had here was that I just couldn't relate to Thelma and Louise on any given level. It's one thing to acknowledge that your life is crap and move on to bigger and better things, but at what cost? Blowing someone's chest open with a revolver? Stealing a cop's gun and locking him in the trunk of his patrol car, in the middle of nowhere out in the southwest? Robbing a convenience store for money and kicks? It just doesn't sound all that life-affirming to me. This is coming from someone who ponders the consequences of his actions; others may see this aspect of the film in a different light. ***

I can't help but wonder if it is the performers who serve to draw the film's fans into the story's outlandish developments. Sarandon and Davis are a consumate screen duo, making for some very snappy dialogue exchanges and possessive of an upbeat nature that radiates from them like heat. Their acting keeps us in the moment even when their characters fail to do so; in effect, could one's love for the actress blind his judgment of her onscreen persona? ***

In the end, my comments will mean little to those whose admiration of the film continues unscathed. I'm sure I will be lambasted for my negative tone, but there is something called a difference of opinion, and it applies here more than ever. It is this difference that brought the film to the attention of its followers, its opposers, and all those who flocked to the film and continue to do so. In a way, "Thelma and Louise" owes some of its success to its controversy, which is always a good method of grabbing attention. Should you see the film? Yes? Will you love it? That's up to you to decide. I've said my piece; now it's your turn to say yours.

There's no doubt about it: this new transfer of "Thelma and Louise" looks terrific. Framed at the theatrical ratio of 2.35:1, everything has been cleaned up from the previous release, and the results are quite nice. There is a significant reduction in film dirt and noise for a smoother appearance, while edges are sharp with minor yet unintrusive enhancement halos visible. Colors are very vibrant, pleasing in their accuracy and saturation. Fleshtones are accurate, blacks are solid, and contrast is commendably smooth throughout. The film's gritty appearance during the later scenes is also excellent; all-in-all, this one reigns supreme over its predecessor. ***

The sound, however, is wanting in many respects. Mastered in Dolby Digital 5.1, the track is very forward-heavy, with almost nothing to take up space in the rear channels, not even the music. Though the score does project some ambiance from its forward position, it remains conjested just the same. Dialogue sounds natural and clean throughout, with some directionalization to enhance the feeling of people coming into frame from the right or the left. Sound effects in the film's chase sequences are muddled and unclear, and not quite as aggressive as they should be. Not a very big improvement over the original track.

The disc is divided into two sides, one for the film and some goodies, the other for the major brunt of the bonus stuff. So let's get started. ***

Accompanying the commentaries on the movie side of the disc is the alternate ending, with optional commentary from Scott; how you take this approach as opposed to that of the final cut is your own choice, but I must say, this version tends to tie in better with the overall tragic feel of the film. Somewhat less than you'd expect are the 16 deleted scenes, which aren't really completely cut sequences, but rather insertions of original dialogue and small snippets mashed into those that made it into the finished version. Choosing "Extension Markers" signifies onscreen what was cut. ***

Turning the disc over brings you to the three-part featurette "Thelma and Louise: The Last Journey," broken down into "Conception & Casting," "Production & Performance," and "Reaction & Resonance." Far from the typical public relations fluff that dominates the accompanying press kit featurette, this newly-produced look at the film, its making, and its impact, features all-new interviews with Scott, Khouri, producer Mimi Polk Gitlin, composer Hans Zimmer, and many of the film's primary and secondary stars. Through these interviews, the behind-the-scenes controveries, as well as those that came upon the theatrical release, are brought to light. Fans will delight in this piece, without a doubt. ***

Closing out the disc is a split-screen comparison which allows you to watch the final chase sequence play along to the original Sherman Labby storyboards. This is followed by a still gallery of more than 100 images, a music video by Glenn Frey, and the original theatrical trailer and TV spots. Fans, both casual and ardent, will not be disappointed.