In Spielberg's first cinema released feature film we watch a well put together car chase movie starring Goldie Hawn and William Atherton as the married hijackers.
This is a very solid, entertaining, and emotional film with a sense of innocence streaked throughout it. The couple involved are obviously doing something very wrong but at the same time the screenplay has helped us to feel a connection to them or at least an understanding to why they're doing this criminal act. The couple are in pursuit of their baby after Hawn breaks her husband, Atherton, out of prison. Our understanding comes from our primal instincts of love and survival which the hijackers have set their objection around.
Although we come to have an appreciation for Hawn and Atherton's characters, ultimately, we do not want them to succeed. If anything, we simply wish that they might come to a resolve or realise the wrong that they are doing. Spielberg shoots close up to the people in the car (Hijackers & policeman), helping to build a relationship between the audience and characters. Gradually the shots become more elegant and beautiful too as the relationship builds. William Atherton's character creates a link between the extreme hysteria of Hawn and the solemn morality of the police.
Spielberg is constantly moving the camera, which you could argue is a must for a road movie. However, he is sure to sustain our interest by moving the camera forward with the story, only stopping its movement when the journey stops or when character's debate. Looking at an early example - The camera tracks back with the couple as they attempt to leave the prison undercover. Facing the camera at first until finally with their backs to camera by the end, leaving this place behind, leaving the camera behind. In the same shot we find ourselves in an unexpected close up as Hawn leans into the shot and kisses a threatening snitch. With one take Spielberg has moved the story forward while creating obstacles for the characters to overcome, which they do in close up to exaggerate its importance in the moment.
As early as 1974 Spielberg is incorporating one of his signature shots. A reflection in a window showing us what the character is looking at. This avoids cutting 2 shots together, making the moment smoother and all about the expression on the character's face. This time, reminding Atherton of the threat of the situation. The foreshadow of his future spread over his face.
Overall, a good movie and a brilliant debut for one of cinema's greatest film directors. One to watch but far from a masterpiece.
This is a very solid, entertaining, and emotional film with a sense of innocence streaked throughout it. The couple involved are obviously doing something very wrong but at the same time the screenplay has helped us to feel a connection to them or at least an understanding to why they're doing this criminal act. The couple are in pursuit of their baby after Hawn breaks her husband, Atherton, out of prison. Our understanding comes from our primal instincts of love and survival which the hijackers have set their objection around.
Although we come to have an appreciation for Hawn and Atherton's characters, ultimately, we do not want them to succeed. If anything, we simply wish that they might come to a resolve or realise the wrong that they are doing. Spielberg shoots close up to the people in the car (Hijackers & policeman), helping to build a relationship between the audience and characters. Gradually the shots become more elegant and beautiful too as the relationship builds. William Atherton's character creates a link between the extreme hysteria of Hawn and the solemn morality of the police.
Spielberg is constantly moving the camera, which you could argue is a must for a road movie. However, he is sure to sustain our interest by moving the camera forward with the story, only stopping its movement when the journey stops or when character's debate. Looking at an early example - The camera tracks back with the couple as they attempt to leave the prison undercover. Facing the camera at first until finally with their backs to camera by the end, leaving this place behind, leaving the camera behind. In the same shot we find ourselves in an unexpected close up as Hawn leans into the shot and kisses a threatening snitch. With one take Spielberg has moved the story forward while creating obstacles for the characters to overcome, which they do in close up to exaggerate its importance in the moment.
As early as 1974 Spielberg is incorporating one of his signature shots. A reflection in a window showing us what the character is looking at. This avoids cutting 2 shots together, making the moment smoother and all about the expression on the character's face. This time, reminding Atherton of the threat of the situation. The foreshadow of his future spread over his face.
Overall, a good movie and a brilliant debut for one of cinema's greatest film directors. One to watch but far from a masterpiece.