I was trying to find this movie for a very long time and I finally got it.Its my No.1 still Its interesting to know that this movie ended on a same way as "Wanishing point" from 1971.Peter Fonda here have made a great role same as Susan George.I usually like this adventure movie, spec. that part where we have car race.I wonder if this movie was produced in 1973 or in 1974????.Some years ago I watch it on our local TV station here and I was very happy that I was watching on TV :-).Im trying to find more movies like this with car chase but still I cant find list of it.In the end I will suggest to my friends to see this one, and I know it will tell me Its an old one but still my best movie and my No.1 great job :-)

The roar of the engines, the glorious heroine... My high score for this overlooks the fact that this movie is badly constructed in many different ways, yet excellent in others. Counting first and foremost is the great casting, I am of course especially thankful for Susan George. Without her in it, I wouldn't have been here reviewing it today. She was the most exciting actress of her time, unfortunately ending up in movies where she shouldn't have been wasting her time, but in this one's case, wow! And again, wow! And again, wow! There is that scene with the police car coming up behind them like a vengeful shark, and the camera shows Mary's face, and wow! That expression! That giggle! That movie magic! That glorious partner-in-crime! Of course this movie begs to be remade, but I will be staunchly critical of whomever they choose as Mary. And actually it was remade, Charlie Sheen and Kristy Swanson during the Nineties in THE CHASE, not bad at all, but not with the same kind of vibe, not the feel of these late Sixties cars, and of course, no Peter OUTLAW BLUES Fonda or Susan George. By the way, Susan might be best known for STRAW DOGS, but this is the ultimate Susan George movie!The character of Larry was of course a total sh*t, and yet, the two protagonists made a powerful on-screen couple. What this one REALLY NEEDED when the bucks started rolling in was less of a lament about 'We Killed the Golden Goose, There Cannot Be a Sequel' as nothing about the film's ending was final, nothing is witnessed except that the car is clearly a flaming wreck. The sequel should just have shown them, in the grand old tradition of old-time movie serials, jumping from the car the moment before actual collision, and however corny my solution of course is, NEVER MIND WE'D HAVE HAD A SEQUEL.Vic Morrow gave particular depth to the movie, representing the other side, and was a full-fledged alternative lead instead of a cardboard character. The irony of the actor's death in a helicopter-related incident some years later does much to undermine watching this movie now. That is beyond control, just a twist of fate. Just as tragic is that Susan fizzled out soon afterward due to health problems, and of course, there were deaths among the rest of the cast as well. The curse of DMCL?

More than 25 years passed since the last time I saw this movie. Maybe Bullit and his black car jumping in San Francisco, or Nicholas Cage's turbulent relationship with "Eleanor" in Gone in 60 seconds, or the whole Fast and Furious saga has more dynamic car action scenes. However, I still remember a quarter-of-century later frame-by-frame the last scene, when the County's Sheriff, after the destruction of every vehicle of his Police Department, decided to guide the fugitives to crash with a train. The image of the yellow car crashing and burning is one of the true classical scenes in the history of racing action movies.

I hadn’t intended to watch this just now but a couple of coincidences made it inevitable – once again, Vic Morrow has a featured role (it’s chilling how the actor feared that, having to spend about half the running-time inside a chopper in this case, would be the end of him!) and it re-united director Hough and co-star Susan George from EYEWITNESS (1970). This is among the most popular road movies from an era full of such efforts, complete with a memorable title and matching theme tune; Peter Fonda and Adam Roarke, both of whom had flourished in biker movies during the late 1960s, here exchange their typical vehicle for a racing car. In this respect, it resembles most closely VANISHING POINT (1971) – as per one of the trailers on the Anchor Bay SE DVD, the two were even re-issued as a double-bill! – though largely eschewing that film’s philosophical overtones.As can be expected, it’s generally fast-paced, tyre-screeching and stunt-heavy fun; the film (Englishman Hough’s first in the U.S. and which manages to capture that peculiar mid-American flavor), however, provides more than just the obvious kind of thrills. To begin with, the narrative opens with a supermarket caper (the one scene in which an uncredited Roddy McDowall, fresh from the same director’s scary ghost story THE LEGEND OF HELL HOUSE [1973], appears) but we also get plenty of confrontation scenes (and not just between fugitives and law enforcers, but within each individual group). This occasions some hilarious dialogue exchanges, such as when George rejects Fonda’s advances – he quips that the night before she had no qualms about it and, in fact, kept begging for more…but she retorts that that ought to have clued him in about just how little she was actually getting! Similarly, veteran cops Morrow and Kenneth Tobey often clash about how to approach the manhunt: at one point, the former argues that the latter’s obsession with apprehending the fugitives is merely a middle-aged man’s grasping to hold on to his job but he’ll only be physically worn-out by the experience (Morrow, then, believes that Tobey doesn’t want to put all he’s got into the chase simply because he’s been promised a new set of police cars – which, most likely, won’t be forthcoming if he proves overly efficient!).As a matter of fact, one of the reasons the film (which, according to the accompanying featurette, was partly improvised) works so well is because each of the principal roles is perfectly cast – thus ensuring that characterization isn’t lost amid all the hair-raising action; incidentally, the IMDb lists additional footage (extending a couple of scenes) that was utilized for the film’s network showings. Among the most notable stunts are: the one in which an impulsive young police officer’s car (which he has “souped up” – after the original engine overheated – in order to keep up with Fonda et al) is crushed by a falling telephone pole; another flies through a billboard; one more runs off the road backwards and ends up in a stream; the fugitive’s own ‘classic’ Dodge Charger (which they exchange midway through the chase) leaping across a drawbridge; and, of course, its climactic crash into a speeding train – giving the whole a fashionable, yet appropriately sobering, downbeat ending (ominously, Morrow’s relentless chopper itself often looms perilously close to its quarry before ultimately running out of gas!).I haven’t listened to Hough’s full-length Audio Commentary, but the half-hour documentary was nonetheless a pretty solid affair which covered most of the bases; highlights included Fonda’s declaration that he idolized former sci-fi/B-movie hero Tobey (despite sharing no scenes with him in the actual film!), as well as the star’s surprised admission that DIRTY MARY CRAZY LARRY out-grossed even his signature effort EASY RIDER (1969), not to mention the expected (albeit brief) but well-deserved tribute to Morrow – of the three titles I’ve watched with him over the past week or so, his contribution in this one was clearly the most substantial and satisfactory (definitely proving him worthier of greater attention than merely for his acclaimed debut performance as the disaffected punk in BLACKBOARD JUNGLE [1955] and his ill-fated swan song). Finally, having enjoyed this so much, I was reminded that I’ve probably got scores of other films from the iconoclastic and eclectic 1970s in my collection which I’ve yet to go through…