Goldie Hawn plays Lou Jean, a woman as hysterical as she is stupid (she makes the bag ofhammers look like Kierkegaard), descends on her slightly more intelligent husband, Clovis(William Atherton). Clovis is four months from release from prison, but she insists he break outRIGHT NOW and come with her to fetch their baby Langston from his foster home in Sugarland.They wind up taking Texas State Trooper Michael Sacks hostage, and travel across Texas,pursued by what looks like …very cop car ever made.
Spielberg, in this, his first theatrical feature, confirmed what he had demonstrated with hismade-for-TV masterpiece Duel: that he was a born filmmaker. The story is set up withexemplary economy (we get our first car chase barely 15 minutes into the film) and then justbarrels along. The idea that Hawn’s Lou Jean could by any stretch of the imagination NOT bean unfit mother is, of course, ludicrous, and the film does suggest that the entire population ofTexas only has a few IQ points to share around. Nonetheless, Spielberg’s instant mastery of paceand the language of film is undeniable. This is the theatrical birth of a genius entertainer.
The 2.0 sound is, as far as I can determine, mono. Certainly there are no surround elements,and no audible left-right separation. But let that be, because the volume is strong, there is nobackground hiss, and the voices suffer no distortion. A handsome, clear-sounding audiotrack.
The 2.35:1 anamorphic widescreen picture is blessed by a print in damn near perfectcondition. There isn’t a speckle in sight, nor is there any dirt. There is some grain and, now andthen, a tiny bit of flicker, but the colours are strong, there is no visible edge enhancement, and theimage is remarkably sharp and clean for its age.
Nothing but the trailer, which is in very rough shape. The menu is basic.
Enormously entertaining, this is a joy to behold. It is a shame, however, given how importantthe young director turned out to be, that there are no extras.
Special Features List
- Theatrical Trailer