A director known for muscular action films (Ridley Scott), a convertible car (not just any one: a blue 1966 Thunderbird), a gun, the desire to escape from a world fit for men, the well-known American spaces ( John Ford's Grand Canyon, to say), the stylistic features of the Buddy Movie, the street (and therefore the on the road, another male-dominated genre, before and after Easy Rider) but two unforgettable heroines transformed into Bonnie & Clyde ( almost) by accident: 30 years later, housewife Thelma (Geena Davis, never so dazzling again) and waitress Louise (Susan Sarandon long before the Oscar for Dead Man Walking) still have something to say to their Me Too granddaughters.
Listen to "Greetings Thelma & Louise, best friends 30 years before Me Too (by Massimo Sebastiani)" on Spreaker.
The two flee but the road to freedom is controversial and dotted, let's face it, with assholes: lustful truck drivers, rapists, handsome and dishonest hitchhikers (Brad Pitt, dazzling and definitive debut as a sex symbol).
Even in this, however, the film is far from obvious: Ridley Scott, indeed his screenwriter, Callie Khouri, also overturns the stereotype of the policeman-hunter: the only male who seems to be on their wavelength is a Harvey Keitel in one of his best interpretations.
He will have understood them but will not save them.
