bobsgrock When watching Thieves Like Us, one will almost certainly get the feeling of deja vu in thinking back to the classic 1967 American film Bonnie and Clyde. Indeed, Altman's film owes a bit of gratitude to that picture as its success opened up the door for films like this to be made throughout the early 1970s. While some may claim Altman simply copied the successful formula of Bonnie and Clyde in adapting Edward Anderson's novel, I think the deft touch of Altman's style is pervasively present.In nearly all of Altman's films, the characters and their quirky individual idiosyncrasies are far more important than plot and exposition. This is especially true here as we come to really know and understand who these trio of thieves and their compatriots are while all but predicting exactly what will happen next. Altman could care less what happens to them and neither do we. What is more important is how they react. The acting is very helpful in this department, particularly with the leads of Keith Carradine and Shelley Duvall as Bowie and Keechie, who fall in love yet cannot seem to simply escape from the world in which they are trapped in.The supporting cast is also very good, particularly Louise Fletcher and Burt Remsen, but Altman's direction really steals the show as the most memorable part. He hardly ever uses close-ups, daring to get us to connect with these characters as we watch them commit robberies and shoot up the south. He also continues his progression in the sound editing department, using the radio as a thematic link for the whole film. Like the overhead announcement horns in MASH, the various programs and people heard on the radio give a different emotional and visual impact to what is happening in the scene (For example, when Bowie and Keechie first come together intimately, Romeo and Juliet plays over the radio).The only criticism I have of this film is that it too closely parallels that of Bonnie and Clyde, a much better and more engaging and challenging film. The originality isn't in the story but the characters; Altman's characters can't be found in practically any other type of movie. They are unique to his style and substance and soon you realize that is how it should be for it wouldn't work under anyone else.

kenjha The novel by Anderson must not be very interesting because two noted directors have made average movies out of it: Nicholas Ray's "They Live by Night" in 1948 and this Altman version. At least Ray had the advantage of brevity; Altman's film moves very slowly and outstays its welcome. Carradine and Duvall don't click as well as Farley Granger and Cathy O'Donnell did in the earlier version. However, the supporting performances are better in the later film, including Fletcher in her film debut. This use of the radio as a commentary on the action is overdone, particularly in the scene where "Romeo and Juliet" plays on the radio while Carradine and Duvall are making out.

preppy-3 Drama about three Depression era crooks--Bowie (David Carradine), Chicamaw (John Schuck) and T-Dub (Bert Remsen). Two have just escaped from prison. They get together and rob banks. Bowie meets Keechie (Shelley Duvall) and starts to fall in love with her. But can he be with her and give up crime? I can't say this was entertaining and it is slow and leisurely paced but I found it just fascinating. I'd have to say this film was naturalistic--everything seemed real and true to life. The cinematography was absolutely stunning in this one--the lush green backgrounds were absolutely breath-taking. The period cars they got were also great in this--big beautiful automobiles in bright vivid colors. The towns they shot in were small rural towns in Mississippi that looked like they were still in the 1930s. It's incredible that director Robert Altman was able to find towns like that in 1974 and he used them to great effect. Also there's no music--only recordings of actual radio shows from that era. They work perfectly and compliment the action on the screen. Everything is done on a laid back, easy-going level. Even the one bank robbery they show is done in a quiet easy manner! All the direction is great...but that goes without saying for an Altman film.The acting is great. Carradine and Duvall are fascinating--so young and full of life. They play off each other well and their conversations were just incredible. Schuck was downright terrifying as the unstable Chicamaw. Remsen was just OK as T-Dub. Also Louise Fletcher in her first role was just great. Altman discovered her for this movie--she was (at the time) married to someone in the crew.This is not for everyone--but then most Altman films aren't. This is for those who prefer quiet intelligent movies. My only complaint--we see characters constantly drinking Coca-Cola. This was true to the era but it started to seem like product placement (it wasn't). Not Altman's best (I still think "Nashville" was better) but well worth catching. A 9.

tripolarproduce When altman chooses to not show t-dub getting killed, rather reveal it to bowie the same time he reveals it to us in a news broadcast, i thought it was a very strange choice, but also an appropriate one. most of the action in this movie is in radio broadcasts and newspapers, with very only two full robberies. I sometimes have problems watching the 70's altman stuff only because the sound recording technologies didn't really match up to his vision, and frequently things are too muddled to understand more than one or two words(IE the rainstorm.) That was a pretty terrible fake rainstorm, either that or the copy of the film we screened was damaged. I liked it more than bonnie and Clyde, mostly because it was more subdued, less flashy, more subtle, more about friendship and consequences.it was good. real good.they oughta put it on a DVD.